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LIBRAKV 

THE 

UNiVERsny  or  iusNois 
SUPPLEMENT  TO 

MANUAL  FOR  TEACHING 
ENGLISH  CLASSICS 


heme  Subjects  and  Selections  for 
Reading  Aloud  in  Class 


GEORGE  L.  MARSH 

OF  THE  UNIVERSITY  OF  CHICAGO 


CHICAGO 

SCOTT,  FORESMAN  AND  COMPANY 
1909 


COPYRIGHT,  1909 

BY  Scott,  Foresman  and  Company 


^:on 

M3<:t 

j ■ 1 3 03 

V . 

^THEME  SUBJECTS,  AND  SELECTIONS  FOR  READING 
4 ALOUD,  PROM  ENGLISH  CLASSICS. 

The  suggestions  of  topics  for  composition  and  of  selections 
for  class  reading,  on  the  following  pages,  are  intended  for 
teachers  of  English  in  secondary  schools.  The  page  references 
are  to  the  volumes  of  the  Lake  English  Classics  (Scott,  Fores- 
man  and  Company,  Chicago),  and  to  Manual  for  Teaching 
English  Classics,^^  published  by  the  same  company.  The  books 
are  arranged  in  groups  according  to  the  year  of  the  high  school 
course  in  which  it  is  believed  they  may  be  read  or  studied  most 
advantageously.  It  is  not  expected,  however,  that  this  arrange- 
ment will  please  all  teachers  or  suit  all  needs;  suggestive  value 
is  all  that  is  claimed  for  it,  and  the  order  will  naturally  be  varied 
to  suit  conditions  in  different  schools. 

The  theme  subjects  have  been  formulated  with  several  prin- 
ciples in  view.  The  average  capabilities  of  pupils  in  the  different 
years  have  been  kept  in  mind,  and  subjects  of  the  more  difficult 
kind  are  usually  reserved  till  the  later  years,  when  the  more  diffi<- 
cult  books  are  studied.  The  emphasis  is  placed,  especially  in  the 
suggestions  for  the  earlier  years,  on  narrative  and  descriptive 
topics  calculated  to  rouse  the  interest  and  stir  the  imagination. 
Of  course  it  is  to  be  expected  that  teachers  may  often  find  modi- 
fication or  limitation  desirable.  Sometimes  a subject  that  an 
alert  and  ingenious  student  may  treat  brilliantly  will  fall  flat 
from  the  hands  of  most  of  his  classmates.  Often  a hint  as  to 
the  finding  of  material  or  the  method  of  treatment  will  be 
desirable;  and  this  the  page  references  will  usually  enable  the 
teacher  to  give  with  the  least  possible  expenditure  of  time.  Sub- 

3 

986936 


4 


INTRODUCTION 


Jects  assigned  for  one  book  may  frequently  be  applied  successfully 
to  another. 

The  suggestions  for  class  reading,  by  either  teacher  or  pupils, 
include  what  are  believed  to  be  the  most  striking  and  significant 
passages  from  the  various  books.  The  reading  aloud  of  some 
such  passage,  each  day  or  as  often  as  possible,  will  have  an 
influence  on  the  interest  and  the  culture  of  young  students  in 
the  high  school,  that  can  hardly  be  overestimated.  The  selec- 
tions should,  however,  be  carefully  studied  beforehand,  with 
some  time  for  practice  when  the  pupils  are  to  read.  It  is  not 
assumed  that  reading  of  all  the  passages  here  suggested  (or  only 
these)  can  be  required;  here,  as  always,  the  teacher  must  exer- 
cise a wise  discretion.  In  some  selections,  for  instance  from 
^^Macbeth,’’  omissions  may  seem  desirable  in  mixed  classes;  but 
it  is  surely  not  wise  to  exclude  the  whole  of  a great  scene  because 
of  the  need  of  such  omissions.  Passages  from  plays,  and  even 
from  novels,  may  often  be  most  effectively  read  by  having 
different  pupils  take  different  parts. 


CONTENTS 


Theme  Subjects  and  Selections  foe  Class  Reading  on  the  ’ 
Following  Books: 

First  Year  page 

IvANHOE — Scott  7 

The  Ancient  Mariner — Coleridge 8 

The  Vision  of  Sir  Launfal — Lowell 9 

The  Merchant  of  YEmc^—Shalcspere 9 

The  Sketch  Boo-k— Irving 10 

A Christmas  Carol — DicTcens 11 

Treasure  Island — Stevenson ' 12 

The  Last  of  the  Mohicans — Cooper 13 

Marmion — Scott 15 

TLe  Narrative  Poems  of  Longfellow 16 

• Second  Year 

Silas  Marner — George  Eliot 17 

The  De  Coverley  Papers — Addison 18 

The  Lady  of  the  Lake — Scott I9 

Selections  from  Tennyson '20 

As  You  Like  It — Shakspere 21 

The  Vicar  of  Wakefield— 22 

The  Pilgrim’s  Progress — Bunyan 23 

Tales  of  a Traveller — Irving 25 

iThe  Autobiography— Franfe7m 26 

The  Iliad  of  Homer — Pope 27 

Third  Year 

jluLius  Caesar — Shakspere  28 

[Minor  Poems — Milton 29 

I 


6 


CONTENTS. 


• PAGE 

Oliver  Goldsmith — Irving^ 30 

The  House  of  the  Seven  Gables — Hawthorne 31 

A Tale  of  Two  Cities — DicTcens 32 

The  Princess — Tennyson  33 

Paradise  Lost — Milton  34 

Poems  and  Tales,  Selected — Poe 35 

Sesame  and  Lilies — BusJcin 36 

Fourth  Year 

Macbeth — Shakspere  37 

Speech  on  Conciliation — Burke 38 

Essays  on  Milton,  Addison,  and  Johnson — Macaulay 39 

Henry  Esmond — Thackeray 41 

Twice  Told  Tales — Hawthorne 42 

Hamlet — Shakspere  43 

The  Golden  Treasury — Palgrave 44 

Essay  on  Burns — Carlyle 45 

Selections  from  Chaucer 46 

Essays  and  Addresses — Emerson 48 


THEME  SUBJECTS,  AND  SELECTIONS  FOR  READING 

ALOUD. 

IVAN  HOE— THEME  SUBJECTS. 


1.  Sketch  of  the  life  of  Scott 
(pp.  17-24). 

2.  The  story  of  “Meikle-Mouthed 

Meg”  (p.  17;  cf.  Browning’s 

‘‘Muckle-Mouth  Meg”). 

3.  The  historical  setting  of 
“Ivanhoe”  (pp.  25,  26,  41-44,  etc.). 

4.  Description  of  any  of  the  im- 
portant scenes  listed  on  pp.  28,  29. 

5.  Dramatization  of  any  of  the 
scenes  listed  on  p.  30. 

6.  Character  sketches  of  any  of 
the  chief  personages.  (See  hints 
on  pp.  32*-34.) 

J.  Isaac  of  York  and  Shylock  (p. 
33,  and  the  various  chapters  in 
W’hich  Isaac  is  prominent). 

8.  King  John  as  presented  by 
Scott  and  by  Shakspere  (p.  33). 
(See  Terry’s  ‘‘History  of  England,” 
pp.  104-113.) 

9.  Wamba  as  a type  of  the  me- 
diaeval professional  jester  (cf. 
Shakspere’s  fools). 

10.  The  steps  in  the  identifica- 
tion of  Ivanhoe,  the  Black  Knight, 
Locksley.  (See,  respectively,  (a) 
pp.  95,  111,  116,  144,  155,  161,  163, 
197;  (b)  pp.  34,  151,  193,  201,  239, 
388,  412,  459,  551;  (c)  pp.  126,  132, 
265,  268,  552,  etc.) 

11.  The  story  of  any  of  the  dif- 
ferent well  marked  divisions  of  the 
book. 

12.  Description  of  appearance 


and  attire  of  some  striking  person 
with  whom  the  student  is  acquaint- 
ed, after  the  elaborate  manner  of 
Scott  (as  on  pp.  53-58,  72,  80,  85, 
128,  etc.). 

13.  Description  of  some  interest- 
ing house,  or  other  building,  after 
the  manner  of  Scott  (as  on  pp.  70, 
71). 

14.  An  account  of  a football 
game  in  Scott’s  style  or  rewrite  the 
story  of  the  tournament  in  modern 
newspaper  style. 

15.  The  mediaeval  attitude  to- 
ward the  Jews.  (See  pp.  113,  125, 
209,  260,  Chap.  XXII,  etc.) 

16.  An  account  of  a real  or  im- 
aginary meeting  of  the  student 
with  some  odd  character  (hermit, 
hunter,  or  the  like),  in  a forest  or 
other  out-of-the-way  place.  (Cf. 
pp.  231  ff.) 

17.  Discussion  of  the  compara- 
tive interest  and  charm  of  Rebec- 
ca and  Rowena. 

18.  Rewrite  the  conclusion  of  the 
story.  (In  this  connection  refer- 
ence may  be  made  to  Thackeray’s 
‘‘Rebecca  and  Rowena.”) 

19.  Bring  Ivanhoe  to  life  in  your 
own  city  today  and  describe  his 
impressions. 

(For  subjects  based  on  ‘‘Ivanhoe” 
and  other  books  treated  below,  see 
also  Herrick  and  Damon’s  ‘‘Compo- 
sition and  Rhetoric,”  pp.  415-17.) 


7 


8 


THEME  SUBJECTS  AND 


IVANHOE— SELECTIONS  FOR  CLASS  READING. 


1.  — Gurth  and  Wamba  (pp.  45- 
52). 

2.  — Cedric  at  home  (pp.  70-79). 

3.  — The  setting  of  the  tourna- 
ment and  the  gathering  of  the 
crowd  (pp.  121-29.) 

4.  — The  first  day’s  combats  (pp. 
137-48). 

5. T-The  second  day’s  combats  (pp. 
184-95). 

6.  — The  archery  contest  (pp.  202- 
209). 

7.  — In  connection  with  the  tour- 
nament read  some  newspaper  ac- 
count of  a live  football  or  baseball 
game.  Contrast  (1)  style,  (2)  na- 
tional idea  of  sport. 

8.  — Gurth  in  Isaac’s  house  (pp. 
167-73). 

9.  — The  Black  Knight  and  the 
Holy  Clerk  of  Copmanhurst  (pp. 
231-48). 


10.  — Isaac  in  the  dungeon  (pp.- 
288-98). 

11.  — Rebecca  in  the  turret  (pp. 
309-22). 

12.  — Wamba’s  defiance  (pp.  324- 
26). 

13.  — Rebecca  watching  the  siege 
of  Torquilstone  (pp.  383-93). 

14.  — The  death  of  Front-de-Boeuf 
(pp.  397-404). 

15.  — Ulrica’s  death  song  (pp.  419- 

21). 

16.  — The  trial  of  Rebecca  (pp. 
493-508). 

17.  — Rebecca’s  hymn  (pp.  520- 

21). 

18.  — Richard  reveals  himself  (pp. 
551-63). 

19.  — Athelstane  reappears  (pp. 
574-82). 

20.  — The  combat  on  behalf  of  Re- 
becca (pp.  583-84,  587-97). 


THE  RIME  OF  THE  ANCIENT 

1.  The  life  of  Coleridge  (pp.  6- 
17). 

2.  Character  sketch  of  Coleridge 
(pp.  7-18). 

3.  Coleridge  and  his  famous 
friends  (pp.  7-18). 

4.  ’The  genesis  of  “The  Ancient 
Mariner’’  (pp.  13,  14). 

5.  The  story  of  “The  Ancient 
Mariner.’’  (Tell  in  plain,  simple 
language  just  what  happens.) 

6.  The  geography  of  the  poem. 
(Where  does  the  ship  go  and  how 
is  its  course  indicated?) 

7.  The  teaching  of  the  poem  (pp. 

THE  ANCIENT  MARINER— SEL 

1.  — The  storm  (pp.  29,  30). 

2.  — The  calm  (pp.  33,  34). 

3.  — A sail  appears  (pp.  35,  36). 

4.  — The  Spectre-Woman  and  her 
mate  (p.  37). 


MARINER— THEME  SUBJECTS. 

19,  20,  59). 

8.  Character  sketch  of  the  An- 
cient Mariner. 

9.  The  character,  and  function 
in  the  poem,  'of  the  Wedding-Guest. 

10.  Nature  pictures  in  the  poem 
(especially  pp.  29,  30,  33,  34,  38,  41, 
44,  52,  etc.). 

11.  The  metre  and  metrical  ef- 
fects (pp.  22-24,  30,  35,  46,  etc.). 

12.  Paraphrases  of  different 
striking  portions  of  the  poem  (e.  g., 
the  following  well  marked  scenes  or 
tableaux:  pp.  29-31,  32-34,  35-38, 
39-42,  51-58,  etc.). 

:tions  for  class  reading. 

5.  — The  Mariner’s  companions 
die  (pp.  37,  38). 

6.  — The  Mariner’s  solitude  (pp. 
39-41). 


I 


I 


SELECTIONS  FOR  READING  ALOUD 


9 


7.  — The  bodies  of  the  crew  are 
inspired  (pp.  44,  45). 

8.  — Pleasant  sounds  (p.  46). 

9.  — The  curse  is  expiated  (pp.  50, 

51).  t. 


10.  — The  Mariner  beholds  his  na- 
tive country  (pp.  51,  52). 

11.  — The  ship  sinks  (pp.  55,  56). 

12.  — The  Mariner’s  penance  (pp. 
58,  59). 


THE  VISION  OF  SIR  LAUNFAL— THEME  SUBJECTS. 


1.  Lowell’s  life  (pp.  67-70). 

2.  The  story  of  the  Holy  Grail 
(pp.  71-73). 

3.  Tennyson’s  treatment  of  the 
Grail  story.  (See  particularly  “The 
Last  Tournament.’’) 

4.  Lowell’s  variations  from  the 
ordinary  versions  of  the  Grail  story 
(pp.  71-73). 

5.  The  development  of  Sir  Laun- 
fal’s  character  during  his  search 
for  the  Grail. 


6.  The  moral  lesson  of  this  poem 
(pp.  73-75). 

7.  Nature  pictures  in  the  poem; 
e.  g.: 

“A  day  in  June’’  (pp.  84-86). 

A winter  scene  (pp.  91-93). 

8.  Paraphrases  of  the  pictures 
just  mentioned  may  be  asked. 

9.  The  story  of  Sir  Launfal. 

10.  The  relations  of  the  preludes 
to  the  main  parts  of  the  poem  (p. 
79). 


THE  VISION  OF  SIR  LAUNFAL— SELECTIONS  FOR  CLASS  READING. 


1.  — A day  in  June  (pp.  84-86). 

2.  — Sir  Launfal  and  the  leper  (pp. 
89-90). 

3.  — A winter  scene  (pp.  91-93). 


4.  — Sir  Launfal’s  return  (pp.  94- 
95). 

5.  — The  transformation  of  the 
leper  (pp.  97-98). 


THE  MERCHANT  OF  VENICE— THEME  SUBJECTS. 


1.  Shakspere’s  life  (pp.  3-7). 

2.  The  drama  before  Shakspere 
(pp.  7-13). 

3.  The  stage  of  Shakspere’s  time 
(with  illustration  of  how  different 
parts  of  this  play  were  presumably 
staged;  e.  g.,  p.  83). 

4.  The  bond  story  and  its  source 
(pp.  21-24). 

5.  The  casket  story  and  its 
source  (pp.  24,  25). 

6.  The  story  of  Jessica  and  its 
source  (pp.  25,  26). 

7.  Synopses  of  various  acts  or 
scenes,  or  of  episodes  indicated  in 
“Selections  for  Class  Reading’’  be- 
low. 

8.  Character  sketches  of  the 
leading  personages,  especially  Shy- 


lock,  Antonio,  Portia,  Bassanio, 
Launceiot  Gobbo. 

9.  A defense  of  Shylock. 

10.  Some  moral  lessons  from  the 
play. 

11.  The  tragic  element  in  this 
play. 

12.  The  purpose  of  the  last  act 
(pp,  29,  144  ff.). 

13.  Shylock  and  Isaac  (see  theme 
subjects  for  “Ivanhoe”). 

14.  Another  way  of  concluding 
the  trial  scene. 

15.  Antonio’s  friends.  (Are  they 
differentiated  from  one  another? 
Have  they  distinct  individualities?) 

16  Portia’s  suitors.  (Apply 
questions  just  given.) 


10 


THEME  SUBJECTS  AND 


17.  Compare  Bassanio  to  fortune 
hunters  that  seek  American  heir- 
esses today. 


18.  Portia  was  an  intellectual 
woman.  Would  she  have  been  in 
favor  of  woman’s  suffrage? 


THE  MERCHANT  OF  VENICE— SELECTIONS  FOR  CLASS  READING. 


1.  — Antonio  and  his  friends  (pp. 
45-49). 

2.  — Bassanio  and  Antonio  (pp.  50- 
52). 

3.  — Portia  on  her  suitors  (pp. 
53-57). 

4.  — Antonio  and  Shylock  (pp.  60- 
65). 

5.  — Portia  and  Morocco  (pp.  66- 
bS,  85-88). 

6.  — Launcelot  Gobbo  and  his  fa- 
ther (pp.  68-74). 


7.  — Portia  and  Arragon  (pp.  91- 
94) 

8.  — Shylock  on  the  elopement  of 
Jessica  (pp.  89,  97-101). 

9.  — Portia  and  Bassanio  (pp.  101- 
108). 

10.  — The  trial  scene  (pp.  130-139). 

11.  — The  story  of  the  rings  (pp. 
139-43,  150-55). 

12.  — The  moonlight  scene  (pp. 
144-48). 


THE  SKETCH  BOOK— THEME  SUBJECTS. 


1.  Life  of  Irving  (pp.  7-21). 

2.  Character  sketch  of  Irving 
(with  particular  reference  to  char- 
acteristics indicated  in  the  works 
read;  pp.  7,  18,  22-24,  29,  etc.). 

3.  Irving  and  Scott  (personal  re- 
lations; Scott’s  estimate  of  Irving, 
etc.;  pp.  14,  17,  18,  40-45,  etc.). 

4.  Irving’s  place  in  literature 
(both  English  and  American;  pp. 
26-29,  30-32). 

5.  How  a sea  voyage  today  dif- 
fers from  Irving’s  (pp.  50-57). 

6.  The  Kaatskills  of  today. 
(Contrast  them  as  in  Irving’s  time; 
pp.  11,  76,  95.) 

7.  Dramatic  elements  in  “Rip 
Van  Winkle.’’ 

8.  Write  your  impression  of  your 
own  city  in  1930  (if,  like  Rip,  you 
slept  from  now  until  then). 

9.  Joseph  Jefferson  in  “Rip  Van 
Winkle.’’ 

10.  Character  sketch  of  Rip  Van 
Winkle  (pp.  77  ff.). 

11.  A defense  of  Rip’s  wife. 

12.  Description  of  some  village 
character  of  the  student’s  ac- 


quaintance, suggested  by  Rip  Van 
Winkle  or  Ichabod  Crane. 

13.  An  editorial  for  some  daily 
paper  against  provincialism  (sug- 
gested by  pp.  96-106). 

14.  A visit  to  a country  church 
(cf.  pp.  146-51). 

15.  A visit  to  some  historic  spot  ' 
(or  a place  with  literary  associa- 
tions; cf.  pp.  166  ff.). 

16.  A new  explanation  and  end- 
ing for  “The  Spectre  Bridegroom.’’ 

17.  Fellow  passengers  on  a jour- 
ney (cf.  pp.  245  ff.). 

18.  Christmas  eve  (Christmas 
day,  or  a Christmas  dinner)  in 
“old  Virginia’’  (New  England,  or 
some  other  locality  known  to  the 
student;  cf.  pp.  252  ff.). 

19.  John  Bull  in  the  twentieth 
century  (cf.  pp.  377  ff.). 

20.  Write  a companion  piece  to 
John  Bull — subject,  “Uncle  Sam.” 

21.  Character  sketches  of  Icha- 
bod Crane;  Brom  Bones;  Katrina 
Van  Tassel. 

22.  The  story  of  the  Headless 
Horseman  of  Sleepy  Hollow  (your 
own  version). 


4' 


SELECTIONS  FOR  READING  ALOUD 


11 


THE  SKETCH  BOOK— SELECTIONS  FOR  CLASS  READING. 


1.  — The  wreck  (pp.  52-55). 

2.  — Rip  Van  Winkle’s  character 
and  home  life  (pp,  76-81). 

3.  — Rip  and  Hendrick  Hudson’s 
crew  (pp.  82--85) 

4.  — The  awakening  (pp.  85-92). 

5.  — England  and  America  (pp. 
102-106). 

6.  — The  story  of  Robert  Emmet 
(pp.  117-21). 

7.  — “The  Spectre  Bridegroom” 
(pp.  206-223), 

8.  — “Westminster  Abbey”  (pp. 
224-236). 

9.  — An  English  Christmas  (pp. 
237-43). 

10.  — “The  Stage  Coach”  (pp.  244- 
251). 


11.  — Christmas  eve  at  Brace- 
bridge  Hall  (pp.  256-64). 

12.  — An  English  Christmas  dinner 
(pp.  281-89). 

13.  — The  joys  of  Little  Britain 
(pp.  314-21). 

14.  — Wanderings  in  Stratford-on- 
Avon  (pp,  323-29). 

15. — “John  Bull”  (pp.  379-89). 

16.  — “The  Pride  of  the  Village” 
(pp.  391-99). 

17.  — “The  Angler”  (pp,  403-10), 

18.  — Ichabod  Crane  (pp.  414-19). 

19.  — Ichabod  in  love  (pp.  420-26). 

20.  — The  party  at  Van  Tassel’s 
(pp.  431-37). 

21.  — Ichabod’s  journey  home  (pp. 
438-43). 


A CHRISTMAS  CAROL,  ETC.— THEME  SUBJECTS. 


1.  The  life  of  Dickens  (pp.  1-14). 

2.  Characteristics  of  Dickens 
(pp.  10-18;  especially  characteris- 
tics reflected  in  the  stories  in  this 
volume). 

3.  The  story  of  Scrooge’s  life 
(pp.  56-70). 

4.  An  editorial  on  “Christmas 
Cheer”  for  a modern  newspaper  of 
December  24,  suggested  by  “A 
Christmas  Carol.” 

5.  English  Christmas  customs  as 
reflected  in  this  story. 

6.  The  story  of  Tiny  Tim  (pp. 
79-84,  108  ff.,  120). 

7.  Marley’s  ghost. 

8.  Describe  a country  dance,  or 
other  social  festivity,  after  Dick- 
ens’ manner  in  his  account  of  the 
Fezziwigs’  ball  (pp.  62  ff.). 

9.  Describe  one  of  your  English 
recitation  periods  in  the  same 
style. 

10.  The  story  of  the  Golden 
Mary. 

11.  Richard  Doubledick’s  career 


as  a soldier.  Rewrite  the  story  In 
brief  form  with  the  historical  set- 
ting of  our  Revolutionary  or  Civil 
War. 

12.  The  historical  background  of 
“Richard  Doubledick.” 

13.  The  function  of  the  cricket 
in  “The  Cricket  on  the  Hearth”  (p. 
22). 

14.  The  story  of  Edward  Plum- 
mer. 

15.  Dramatic  situations  in  “The 
Cricket  on  the  Hearth.” 

16.  Poetical  devices  in  “A 
Christmas  Carol”  and  “The  Cricket 
on  the  Hearth”  (pp.  22,  28,  293, 
etc.). 

17.  The  humor  of  “A  Christmas 
Carol.”  (Give  examples  in  the 
theme.) 

18.  The  pathos  of  any  of  these 
stories. 

19.  The  exaggeration  of  Dickens. 
(See  also  theme  subjects  on  pp.  25- 
29.) 


12 


THEME  SUBJECTS  AND 


A CHRISTMAS  CAROL,  ETC.— SELECTIONS  FOR  CLASS  READING. 


1.  — An  example  of  a clever  be- 
ginning for  a story  (p.  31). 

2.  — Scrooge  in  his  counting' house 
(pp.  32-35,  38-40). 

3.  — Scrooge  and  Marley’s  ghost 
(pp.  44-50). 

4.  — The  Ghost  of  Christmas 
Past  (pp.  54-56). 

5.  — The  Fezziwig  ball  (pp.  62-64). 

6.  — The  Ghost  of  Christmas  Pres- 
ent (pp.  73-78). 

7.  — The  Cratchit’s  Christmas  din- 
ner (pp.  79-86). 

8.  — At  Scrooge’s  nephew’s  (pp. 
88-94). 

9.  — The  Ghost  of  Christmas  Yet 
to  Come  (pp.  97-101). 

10.  — Scrooge  in  the  presence  of 
death  (pp.  105-113). 

11.  — “The  end  of  it’’  (pp.  114- 

121). 

12.  — The  passengers  on  the  Gold- 


TREASURE ISLAND- 

1.  The  life  of  Stevenson  (pp.  11- 
25). 

2.  How  Stevenson  trained  him- 
self to  write  (pp.  13,  14). 

3.  Character  sketch  of  Stevenson 
(pp.  17,  20,  22,  25-27). 

4.  Stevenson  in  Samoa  (pp.  25- 
27). 

5.  How  Stevenson  came  to  write 
“Treasure  Island”  (p.  18). 

6.  “Treasure  Island”  and  “The 
Money-Diggers”  in  Irving’s  “Tales 
of  a Traveller.” 

7.  “Treasure  Island”  and  Poe’s 
“Gold-Bug.” 

8.  The  days  of  piracy  (pp.  30- 
31). 

9.  A story  suggested  by  Billy 
Bones’  song  (p.  37). 

10.  An  original  story  of  a search 
for  buried  treasure  (at  or  near  the 
student’s  own  home,  for  example). 

11.  Narratives  of  different  por- 


en  Mary  (pp.  128-30). 

13.  — The  wreck  of  the  Golden 
Mary  (pp.  134-39). 

14.  — Golden  Lucy’s  death  (pp. 
142-45). 

15.  — The  Story  of  the  Chief  Mate 
(pp.  149-56). 

16. — A sail  (pp.  164-67). 

17.  — Doubledick’s  reformation  (pp. 
179-81). 

18.  — Doubledick’s  convalescence 
(pp.  187-89). 

19.  — The  kettle  and  the  cricket 
(pp.  195-200). 

20.  — Caleb’s  deceit  (pp.  224-29). 

21.  — The  crisis  in  the  Peerybingle 
story  (pp.  258-65). 

22.  — The  Carrier’s  decision  (pp. 
268-72). 

23.  — Caleb’s  confession  (pp.  275- 
278). 

24.  — Explanations  (pp.  280-85). 


-THEME  SUBJECTS. 

tions  of  “Treasure  Island,”  e.  g.:, 

Billy  Bones  at  the  “Admiral 
Benbow”  (pp.  33-52). 

Examining  the  sea-chest 
(pp.  55-69). 

Securing  the  crew  for  the- 
Hispaniola  (pp.  71-87). 

The  voyage  to  Treasure  Is- 
land (pp.  88-99). 

Jim’s  shore  adventure  (pp. 
106-23). 

Ben  Gunn’s  story  (pp.  118- 
123). 

The  landing  of  the  Squire’s 
party  (pp,  124-33). 

The  defense  of  the  stockade 
(pp.  134-56). 

Jim’s  sea  adventure  (pp.  157- 
192). 

The  finding  of  the  treasure 
(pp.  215-39). 

12.  An  original  narrative  and- 
description  of  a trip  of  exploration 


SELECTIONS  FOR  READING  ALOUD 


13 


in  a wild  and  strange  place  (cf. 
pp.  Ill  ff.). 

13.  Character  sketches  of  the 
foDiwing: 

Jim  Hawkins. 

Billy  Bones. 

Dr.  Livesey. 

Captain  Smollett. 

TREASURE  ISLAND— SELEC 

1.  — Billy  Bones  (pp.  33-38). 

2.  — Black  Dog’s  visit  (pp.  40-44). 

3.  — The  black  spot  (pp.  48-52). 

4.  — The  escape  of  Jim  and  his 
mother  (pp.  57-63) 

5.  — The  captain’s  papers  (pp.  67- 
70). 

6.  — John  Silver  introduced  (pp. 
72,  73,  76-81) 

7.  — Captain  Smollett  introduced 
(pp.  82-87). 

8.  — Jim  in  the  apple  barrel  (pp. 
92-99). 

9.  — Jim  explores  the  Island  (pp. 
110-116). 

10.  — Ben  Gunn  appears  (pp.  117- 
123). 

11.  — The  jolly-boat’s  last  trip 
(pp.  129-33). 

12. —  Silver’s  embassy  (pp,  14.5-150). 


Long  John  Silver. 

Squire  Trelawney. 

The  buccaneers — Black  Dog, 
Pew,  and  others.  (Are  they 
differentiated?  If  so,  how?) 

14.  Description  of  the  contents 
of  some  old  box  or  chest;  e.  g.,  a 
chest  the  student  finds  in  his 
grandfather’s  garret. 

[ONS  FOR  CLASS  READING. 

13.  — The  attack  on  the  stockade 
(pp.  153-56). 

14.  — Jim  starts  on  his  sea  adven- 
ture (pp.  158-67). 

15.  — Jim  boards  the  Hispaniola 
(pp.  170-78). 

16.  — The  end  of  Israel  Hands  (pp. 
180-86). 

17.  — Jim’s  escape  from  the  ship 
(pp.  187-92). 

18.  — Jim  and  Long  John  in  the 
stockade  (pp  194-200). 

19.  — Silver  defends  himself  (pp. 
203-207). 

20.  — The  search  for  treasure  (pp. 
217-27). 

21.  — Rescue  and  explanations  (pp. 
228-31). 

22.  — A good  ending  (pp.  238,  239). 


THE  LAST  OF  THE  MOHICANS— THEME  SUBJECTS. 


1.  Cooper’s  life  (pp.  7-11). 

2.  The  historical  background  of 
“The  Last  of  the  Mohicans’’  (pp, 
21  ff.). 

3.  Pioneer  days  in  New  York  (or 
whatever  part  of  the  country  the 
student  lives,  or  has  lived,  in). 

4.  An  Indian  you  have  known 
(or  seen).  Contrast  the  life  of 
Indians  on  modern  reservations 
with  the  wild  life  described  in  this 
novel. 

5.  (Character  sketches  of  Hawk- 
eye,  Chingachgook,  Uncas,  Magua, 


Heyward,  Cora,  Alice,  David 
Gamut. 

6.  Comparison  of  David  Gamut 
and  Ichabod  Crane. 

7.  Narratives  of  prominent  divis- 
ions of  the  story,  as  follows; 

The  trip  to  Glenn’s  Falls  (pp. 
29-66). 

The  fight  at  Glenn’s  Falls  (pp. 
81-99). 

The  capture  and  subsequent 
rescue  of  Heyward’s  party 
(pp.  109-46). 

The  journey  to  Fort  William 


14 


THEME  SUBJECTS  AND 


Henry  (pp.  156-83). 

The  surrender  of  Fort  Will- 
iam Henry,  and  the  mas- 
sacre (pp.  202-25). 

The  pursuit  of  Magua  and  his 
prisoners  (pp  227-72). 

Gamut’s  adventures  among 
the  Indians  (pp.  276  ff.). 

Heyward  in  the  Huron  camp. 
The  rescue  of  Alice  (pp. 
283-330). 

The  captivity  and  rescue  of 
Uncas  (pp.  294-341). 

Magua  and  the  Delawares 
(pp.  346  ff.). 

Magua’s  final  attempt  to 
escape  with  Cora  (pp.  410- 
16). 

Mourning  for  “the  last  of  the 
Mohicans”  (pp.  417-30). 

8.  Descriptions  of  important 
scenes;  for  example: 

The  cave  at  Glenn’s  Falls  (pp. 
69  ff.). 

The  ruined  block-house  (pp. 
157  ff.). 

Fort  William  Henry  and  the 

THE  LAST  OF  THE  MOHICANS— I 

1.  — Heyw’ard’s  party  starts  for 
Fort  William  Henry  (pp.  25-32). 

2.  — Hawkeye  and  his  Indian 
friends  (pp.  40-48). 

3.  — Up  to  Glenn’s  Falls  (pp.  64- 
67). 

4.  — In  the  cave  at  the  Falls  (pp. 
69-75). 

5.  — The  first  combat  with  the 
Mingoes  (pp.  86-94). 

6.  — Captured  by  Magua  (pp.  109- 
14). 

7.  — Heyward  and  Magua  (pp.  115- 
17,  121-24). 

8.  — Magua  and  Cora  (pp.  128-34). 

9.  — Tortures  are  commenced  (pp. 
136-40). 

10.  — The  Hurons  are  beaten  (pp. 
141-45). 

11.  — The  ruined  block-house  (pp. 
157-61). 


besiegers’  camp  (pp.  176  ff.). 

The  beaver  town  (p.  273). 

The  Huron  village  (pp.  287 
ff.) 

9.  Following  a trail  through  a 
forest  (pp.  229  ff.).  Compare  Hawk- 
eye’s  skill  with  that  of  the  Indians. 

10.  Descriptions  of  persons,  such 
as  the  following: 

Gamut  as  an  Indian  (pp.  274 
ff.). 

Hawkeye  as  a bear  (pp.  313 
ff.). 

Tamenund  (pp.  361-63). 

Chingachgook  at  the  burial 
of  Uncas  (pp.  418  ff.). 

11.  Compare  one  of  the  most  ex- 
citing scenes  of  this  novel  with  one 
of  the  most  exciting  in  some  quieter 
story — “The  Vicar  of  Wakefield”  or 
“Silas  Marner,”  for  example. 

12.  Write  an  account  of  an  im- 
aginary visit  by  Hawkeye  to  New 
York  State  today,  and  his  impres- 
sions of  the  changes. 

(See  also  theme  subjects  on  pp. 
13,  14.) 

LECTIONS  FOR  CLASS  READING.  * 

12.  — General  M u n r o and  his 
daughters  (pp.  196-201). 

13.  — The  massacre,  and  the  flight 
of  Magua  with  Cora  and  Alice  (pp.  * 
218-25). 

14.  — Finding  the  trail  (pp.  229- 
37). 

15.  — Across  Lake  George  (pp.  254- 
62). 

16.  — Re-enter  David  Gamut  (pp. 
274-81). 

17.  — Uncas  in  captivity  (pp.  294- 
303). 

18.  — Magua  and  Uncas  (pp.  308- 

12). 

19.  — Hawkeye  “plays  bear”  (pp. 
313-18). 

20.  — The  rescue  of  Hawkeye  with 
Uncas  (pp.  335-41). 

21.  — The  old  Delaware  ' chief 

Tamenund  (pp.  361-63). 


SELECTIONS  FOR  READING  ALOUD 


15 


22.  — Magua  before  the  council 
(pp.  370-74), 

23.  — Uncas  before  the  council 
(pp.  378-85). 


24.  — The  death  of  Uncas,  and 
Cora,  and  Magua  (pp.  410-16). 

25.  — An  Indian  burial  (pp.  417-24, 
428-30). 


MARMION— THEME  SUBJECTS. 


(See  also  subjects  for  “The  Lady 
of  the  Lake.”) 

1.  The  historical  setting  of 
“Marmion”  (pp.  48-52,  270-88,  etc.). 

2.  The  relations  of  the  introduc- 
tory epistles  to  the  main  poem  (pp. 
47,  71,  102,  135,  249,  etc.). 

3.  Scott’s  life  at  Ashestiel  (as 
indicated  in  the  Introduction,  pp. 
59-61,  etc.). 

4.  Scott’s  favorite  amusements 
(pp.  94-97,  166,  167,  etc.). 

5.  Character  sketches  of  Mar- 
mion, De  Wilton,  Clare,  the  Abbess, 
King  James,  Douglas. 

6.  Write  a funeral  oration  for 
Marmion, 

7.  Comparison  of  the  Palmers  in 
“Marmion”  and  in  “Ivanhoe.” 

8.  Narratives  (or  paraphrases,  in 
part)  of  the  following  important 
divisions  cf  the  story: 

Marmion  at  Norham  Castle 
(pp.  72-92). 

The  Host’s  tale  (pp.  148  ff.). 

What  connection  has  this 
with  the  main  story? 

Marmion  and  the  Elfin  Knight 
(pp  156-59,  168-70). 

Sir  David  Lindesay’s  tale  (pp. 
178  ff. ; its  connection,  if 

MARMION— SELECTIONS 

1.  — The  reception  of  Marmion  at 
Norham  Castle  (pp.  74-76). 

2.  — Sir  Hugh  the  Heron  and  Mar- 
mion (pp.  80-83), 

3.  — Scott’s  reminiscences  of 

hunting  ’(pp.  94-97). 

4.  — The  Vault  of  Penitence  (pp. 
117-26). 


any,  with  the  main  story). 

Marmion  and  Clare  (pp.  284 
ff.,  etc.). 

The  King  and  Douglas  (pp. 
217-20,  etc.). 

De  Wilton’s  story  (pp.  256  ff.). 

The  battle  of  Flodden  Field 
(pp.  270  ff.). 

The  death  of  Marmion  (p. 
285). 

9.  Christmas  observances  (pp, 
241-44;  compare  those  here  de- 
scribed with  those  the  student 
knows). 

10.  Elaborate  and  paraphrase 
the  description  of  one  of  the  castles 
Scott  describes;  e.  g.,  Crichtoun,  p. 
176;  or  Tantallon,  pp.  238,  251. 

11.  Paraphrase  Lady  Heron’s 
song  about  “Young  Lochinvar”  (pp. 
213-16). 

12.  Compare  a modern  army 
with  the  description  of  the  Scotch 
army  (pp,  202-4). 

13.  Compare  a modern  battle 
(e.  g.,  one  in  our  Civil  War)  with 
Flodden  Field. 

14.  Narrate  the  Battle  of  Flod- 
den Field  in  good  newspaper  style, 
with  Scotch  editorial  on  the  dis- 
aster. 

FOR  CLASS  READING. 

5.  — Scott  on  his  own  poetic 
themes  (pp.  132-35). 

6.  — Marmion  at  the  Inn  (pp.  138- 
144). 

7.  — The  itieeting  with  Lindesay 
(pp.  172-74). 

8.  — Marmion  and  the  Elfin  Knight 
(pp.  182-84). 


16 


THEME  SUBJECTS  AND 


9.  — The  Scottish  camp  at  Black- 
ford (pp  187-91). 

10.  — The  Scottish  soldiery  (pp. 
202-206). 

11.  — King  James  IV  of  Scotland 
(pp.  209-212). 

12.  — Lady  Heron’s  song  (pp.  213- 
216). 

13.  — Douglas  and  the  King  (pp. 
217-20). 


LONGFELLOW’S  NARRATIVE 

1.  Sketch  of  Longfellow’s  life 
(pp  13-23). 

2.  Imaginary  conversation  be- 
tween Longfellow  and  Hawthorne: 
during  their  college  days  (pp.  13- 
15)  on  what  they  hoped  to  accom- 
plish in  life;  or  a later  conversa- 
tion on  the  story  of  “Evangeline” 
(pp.  48-49). 

3.  Character  sketch  of  Longfel- 
low (pp.  21,  25,  30,  and  various 
hints  in  the  poems  read). 

4.  First  person  paraphrase  of 
the  Viking’s  story  (pp.  40-44). 

5.  An  account,  in  the  best  news- 
paper manner,  of  “The  Wreck  of 
the  Hesperus”  (pp.  44-47);  or  of 
“Paul  Revere’s  Ride”  (pp.  306-9). 

6.  The  historical  basis  of 
“Evangeline”  (pp.  49-53);  or  of 
“The  Courtship  of  Miles  Standish 
(pp.  251-54  and  Notes). 

7.  Character  sketch  of  “Evange- 
line.” 

8.  Narrative  themes  on  such 
subjects  as  the  following: 

The  destruction  of  Grand- 
Pre  (pp.  64-78). 

Gabriel’s  story  after  the  ex- 
ile. 

Evangeline’s  search  for  Ga- 
briel. 

9.  Descriptive  themes  on  such 
subjects  as  the  following: 

The  village  of  Grand-Pre  (pp. 
57,  58). 


14.  — Some  Christmas  observances 
(pp.  241-44). 

15.  — De  Wilton  reveals  himself 
and  tells  his  story  (pp.  255-61). 

16.  — Marmion  and  Douglas  (pp. 
264-66). 

17.  — The  battle  of  Flodden  Field 
(pp.  270-72,  275-79,  285-88). 

18.  — The  death  of  Marmion  (pp. 
280-85). 


POEMS— THEME  SUBJECTS. 

Evangeline’s  home  (pp.  59, 
etc.). 

Basil’s  home  in  Louisiana  (pp. 
87,  88). 

The  mission  in  the  desert  (p. 
97). 

10.  A happy  ending  for  “Evange- 
line.” 

11.  Literary  influences  on  Hia- 
watha (pp.  106-12). 

12.  Narratives  of  various  por- 
tions ,of  “Hiawatha”  (or  para- 
phrases) : 

Mudjekeewis  and  the  Great 
Bear  (pp.  125,  126). 
Kabibonokka  and  Shingebis 
(pp.  128-30). 

Hiawatha  and  Mudjekeewis 
(pp.  138-43). 

Hiawatha  and  Minnehaha  (pp. 
144,  174-79). 

The  story  of  Mondamin  (pp. 
146-51). 

Hiawatha  and  the  sturgeon 
(pp.  160-65). 

Hiawatha  and  Megissogwon 
(pp.  166-72). 

Pau-Puk-Keewis  (pp.  180-82, 
210-24). 

The  death  of  Kwasind  (pp. 
225-28). 

The  coming  of  the  white  man 
(pp.  243  ff.). 

13.  Character  sketches  of  Miles 
Standish,  John  Alden,  Priscilla. 

14.  Dramatizations  of  important 


SELECTIONS  FOR  READING  ALOUD 


n 


scenes  in  “The  Courtship  of  Miles 
Standish”;  for  example,  the  follow- 
ing: 

Standish’s  request  (pp.  256- 
62). 

John  Alden  at  Priscilla’s  house 
* (pp.  264-67). 

His  report  to  Standish  (pp. 
269-71). 

The  scene  on  the  beach  (pp. 
274  ff.).  And  so  on  through 
the  poem. 

15.  Paraphrases,  or  condensed 


summaries,  of  the  shorter  narra- 
tives among  “Tales  of  a Wayside 
Inn’’  (pp.  311-18,  321-27,  373-78). 

16.  Construct,  from  the  some- 
what scattered  hints  in  “The  Saga 
of  King  Olaf’’  and  from  whatever 
sources  are  available,  a connected 
story  of  the  career  of  the  King. 

17.  Present  the  farmers’  case 
against  “the  birds  of  Killing- 
worth,”  or  a case  against  the  birds 
of  your  own  town. 


LONGFELLOW’S  NARRATIVE  POEMS— SELECTIONS  FOR  CLASS 
READING 


1.  — “The  Skeleton  in  Armor”  (pp. 
40-44). 

2.  — Introduction  to  “Evangeline” 
(p.  56). 

3.  — Grand-Pre  and  Evangeline 
(pp.  57-59). 

4.  — Indian  summer  at  Grand-Pre 
(pp.  61-63). 

5.  — In  Louisiana  (pp.  84-87). 

6.  — A moonlight  night  (pp.  91- 
92). 

7.  — The  final  meeting  (pp.  102-4). 

8.  — Introduction  to  “Hiawatha” 

(pp.  118-20). 

9.  — Hiawatha’s  childhood  (pp. 
•(134-36). 

10.  — How  Hiawatha  makes  a 
canoe  (pp.  156-59). 

11.  — Chibiabos’  song  at  the  wed- 
ding feast  (pp.  183-84). 

12.  — Disasters  (p.  228). 


13.  — The  death  of  Minnehaha  (pp. 
234-38). 

14.  — ^Hiawatha’s  departure  (pp. 
248-49). 

15.  — John  Alden  on  his  errand 
(pp.  264-67). 

16.  — Miles  Standish  at  the  coun- 
cil (pp.  271-72). 

17.  — The  departure  of  the  May- 
fiower  (pp.  275-77). 

18.  — The  wedding  (pp.  289-90). 

19.  — The  musician  (pp.  304-5). 

20.  — “Paul  Revere’s  Ride”  (pp. 
306-9). 

21.  — The  restoration  of  Robert  of 
Sicily  (pp.  324-27). 

22.  — “The  Challenge  of  Thor”  (pp. 
328-29). 

23.  — “The  Nun  of  Nidaros”  (pp. 
369-71). 

24.  — The  destruction  of  the  “birds 
of  Killingworth”  (pp.  384-86). 


SILAS  MARNER— THEME  SUBJECTS. 


1.  The  life  of  George  Eliot  (pp. 
7-11). 

2.  Review  of  another  of  her 
novels  besides  “Silas  Marner.” 
(See  comments  on  pp.  13-16). 

^ 3.  George  Eliot’s  artistic  creed 

(pp.  18-20). 


4.  The  lesson  of  “Silas  Marner” 
(pp.  26,  29,  30). 

5.  Narratives  of  the  following 
divisions  of  the  story: 

The  history  of  Marner  before 
he  came  to  Raveloe. 

The  story  of  Marner’s  hoard. 


3 


18 


THEME  SUBJECTS  AND 


The  story  of  Godfrey  Cass. 

The  story  of  Dunstan  Cass. 

The  story  of  Eppie. 

6.  Character  sketches  of  the  fol- 
lowing: 

Marner.  (This  may  be  di- 
vided into  two  parts — before 
and  after  the  coming  of 
Eppie.) 

Godfrey  Cass. 

Nancy. 

Dolly  Winthrop. 

Eppie. 

7.  An  account  of  a social  even- 
ing at  some  country  inn,  or  similar 
place  (cf.  pp.  93  ff.). 

8.  An  account  of  a rural  party 
(cf.  pp.  158  ff.). 

SILAS  MARNER— select; 

1.  — Marner’s  life  before  he  came 
to  Raveloe  (pp.  40-48). 

2.  — How  Marner  became  a miser 
(pp.  51-59). 

3.  — The  status  of  the  Cass  story 
(pp.  62-69,  72-75). 

4.  — Marner  loses  his  money  (pp. 
79-85,  89-91). 

5.  — The  talk  of  the  village 

worthies  at  the  Rainbow  Inn  (pp. 
93-106). 

6.  — Marner  tells  of  his  loss  (pp. 
108-14). 

7.  — Godfrey  and  his  father  (pp. 
127-35). 

8.  — Silas  and  Mr.  Macey  (pp.  Ill- 
Ill). 

9.  — Dolly  Winthrop  (pp.  144-51). 

10.  — Miss  Nancy  Lammeter  (pp. 


9.  Dramatic  situations  in  “Silas 
Marner’’  (pp.  28,  29).  An  original 
dramatization  of  one  of  them  may 
well  be  asked. 

10.  A day  in  Raveloe  (a  real  or 
imaginary  account  of  a day  in  such 
a village). 

11.  The  function  of  the  child  in 
“Silas  Marner’’  (cf.  Tennyson’s 
“Princess”), 

12.  A baby  I know  (cf.  parts  of 
“Silas  Marner”  dealing  with 
Eppie’s  childhood), 

13.  Dickens  suspected  that 
George  Eliot’s  novels  were  written 
by  a woman.  Show  why  he 
thought  so. 


SIS  FOR  CLASS  READING. 

158-168). 

11.  — Dancing  at  the  Red  House 
(pp.  175-81). 

12.  — Marner  entertains  a guest 
(pp.  185-93). 

13.  — Dolly  Winthrop  helps  Marner 
with  the  child  (pp.  206-12). 

14.  — Eppie’s  childhood  (pp.  212- ' 
221). 

15.  — Some  changes  of  sixteen 
years  (pp.  224-33) 

16.  — Eppie  and  Silas  (pp.  239-44). 

17.  — The  truth  comes  out  (pp. ' 
259-63). 

18.  — Eppie  will  not  be  adopted 
(pp.  266-76). 

19.  — Silas  goes  back  to  Lantern 
Yard  (pp.  280-84). 

20.  — The  conclusion  (pp.  285-88), 


THE  DE  COVERLET  PAPERS— THEME  SUBJECTS. 


1.  The  life  of  Addison  (pp.  38, 
39). 

2.  The  life  of  Steele  (pp.  42,  43), 

3.  Character  sketches  of  each; 
or  a contrast  of  the  two  (pp.  40, 
41,  44-47;  see  also  Macaulay’s  “Es- 
say on  Addison,”  and  theme  sub- 


jects based  on  it). 

4.  The  Spectator  as  a portrait  of 
Addison  (pp.  49  ff.). 

5.  The  work  of  Addison  and  of 
Steele  In  the  “De  Coverley  Papers.” 
(Note  the  authorship  of  the  re- 
spective papers,  differences  in 


SELECTIONS  FOR  READING  ALOUD 


19 


manner  or  spirit  that  can  be  de- 
tected, etc.) 

6.  “The  Spectator”  as  compared 
or  contrasted  with  a newspaper  of 
today  (pp.  13,  35-38). 

7.  “The  Spectator”  and  Irving’s 
essays.  (Cf.  “Sketch  Book,”  pp. 
25,  26.) 

8.  A “Spectator”  of  the  twen- 
tieth century  (the  student’s  own 
comment,  in  the  manner  of  the 
“Spectator,”  on  some  folly  of  the 
day,  or  the  like;  cf.  Thackeray’s 
“Spectator”  paper  in  “Henry  Es- 
mond,” pp.  408  ff.). 

9.  Character  sketches  of  Sir 
Roger,  Sir  Andrew  Freeport,  Will 
Wimble,  Will  Honeycomb. 

10.  Elements  of  the  novel  in  the 
“De  Coverley  Papers”  (and  what 
they  lack  to  make  a novel). 

THE  DE  COVERLEY  PAPERS— S 

1.  — The  Spectator  and  his  club 
(pp.  50-53,  55-62). 

2.  — Sir  Roger  on  fashion  (pp.  63- 
67). 

• 3. — Sir  Roger  and  his  household 

(pp.  79-81,  84-88). 

4.  — “The  Coverley  Economy”  (pp. 
118-22). 

5.  — Will  Wimble  (pp.  89-93). 

6.  — Sunday  with  Sir  Roger  (pp. 
106-10). 

7.  — Sir  Roger’s  love  affair  (pp. 
111-16,  140-45,  etc.). 

8.  — Sir  Roger  as  a hunter  (pp. 
125,  126,  128-34). 


11.  Some  subjects  of  satire  in 
the  “De  Coverley  Papers”  (e.  g., 
pp.  74  ff.,  170  ff.,  etc.). 

12.  The  London  coffee-house  of 
Addison’s  time  (pp.  23-25).  (Has 
the  coffee-house  a present-day 
equivalent  in  social  life?) 

13.  Sir  Roger  at  a twentieth 
century  theatre  (cf.  pp.  215  ff.). 

14.  Sir  Roger  at  Coney  Island 
(or  some  amusement  park  of  the 
present). 

15.  The  gypsies  of  Sir  Roger’s 
time  and  today  (pp.  180-84). 

16.  A new  version  of  Sir  Roger’s 
love  story. 

17.  Rewrite  the  “Spectator” 
paper  on  “Party  Feeling”  (pp.  169- 
74)  to  fit  our  own  political  condi- 
tions, using  the  editorial  form. 


ECTIONS  FOR  CLASS  READING. 

9. — Moll  White  (pp.  136-39). 

10.  — Sir  Roger  at  the  assizes  (pp. 
156-60). 

11.  — The  story  of  Florio  and 
Leonilla  (pp.  162-67). 

12.  — Party  feeling  (pp.  169-74). 

13.  — The  journey  to  London  (pp. 
189-93). 

14.  — Sir  Roger  visits  Westminster 
Abbey  (pp.  208-12). 

15.  — Sir  Roger  at  the  play  (pp. 
213-17). 

16.  — The  death  of  Sir  Roger  (pp. 
228-32). 


THE  LADY  OF  THE  LAKE— THEME  SUBJECTS. 


(See  also  subjects  for  “Ivanhoe.”) 
1.  Scott’s  boyhood  (with  empha- 
sis on  the  cultivation  of  character- 
istics displayed  in  his  poems;  pp. 
10-12). 

^ 2.  Scott  as  a landed  proprietor 

(pp.  27-33).  This  may  well  take 


the  form  of  an  imaginary  visit  to 
Abbotsford. 

3.  Scott  in  business  (pp.  23-25, 
34-36).  Compare  his  struggle 
against  debt  with  Mark  Twain’s. 

4.  The  historical  setting  of  “The 
Lady  of  the  Lake”  (pp.  46-48). 


20 


THEME  SUBJECTS  AND 


5.  A visit  to  the  scene  of  “The 
Lady  of  the  Lake.” 

6.  Summary  of  the  action;  as  a 
whole,  or  by  parts  (cantos  or  other 
logical  divisions). 

7.  Character  sketches  of  Fitz- 
James,  Roderick  Dhu,  Ellen,  Mal- 
colm, Douglas. 

8.  Highland  customs  reflected  in 
the  poem  (pp.  129  ff.,  253,  254,  etc.). 

9.  The  use  of  the  Minstrel  in 
the  poem. 

10.  The  interpolated  lyrics — what 
purposes  do  they,  respectively, 
serve? 

11.  Descriptions  of  scenes  re- 
sembling, in  one  way  or  another, 

THE  LADY  OF  THE  LAKE— SE 

1.  — The  chase  (pp.  60-65). 

2.  — The  Trosachs  (pp.  66-68). 

3. — Ellen  (pp.  72-74). 

4.  — Ellen’s  song  (pp.  83-85). 

5.  — Roderick’s  arrival  (pp.  100- 
105). 

6.  — Roderick's  proposal  (pp.  113- 
118). 

7.  — The  consecration  of  the  bloody 
cross  (pp.  128-32). 

8.  — The  summoning  of  the  clan 
(pp.  132-35). 

9.  — The  Coronach  (pp.  136,  137). 

10.  — Roderick  overhears  Ellen’s 
song  (pp.  147-50). 

11.  — The  ballad  of  Alice  Brand 


attractive  scenes  depicted  in  “The 
Lady  of  the  Lake.” 

12.  Soldier  life  in  Stirling  Castle 
(pp.  219  ff.). 

13.  Contrast  feudal  warfare  (es- 
pecially as  shown  on  pp.  81,  182) 
with  modern  warfare,  such  as  the 
Russo-Japanese  war. 

14.  Show,  by  selected  passages, 
Scott’s  veneration  for  the  ideals 
of  feudalism  (pp.  81,  228,  etc.). 

15.  Rewrite  the  scene  of  the 
combat  between  Roderick  and  Fitz- 
James  (pp.  198-200)  in  the  prose 
style  of  Scott  as  in  the  tourna- 
ment scene  in  “Ivanhoe.” 


ICTIOXS  FOR  CLASS  READING, 
(pp.  162-67). 

12.  — Fitz-James  and  the  mad 
woman  (pp.  172-78). 

13.  — The  hospitality  of  a High- 
lander (pp.  180-83). 

14.  — The  hidden  army  (pp.  188- 
92). 

15.  — The  combat  (pp.  195-200). 

16.  — Douglas  at  the  games  (pp. 
207-11). 

17.  — The  speech  of  Douglas  (pp. 
212,  213). 

18.  — The  Battle  of  Beal  an  Duine 
(pp.  232-40). 

19.  — Fitz-James  reveals  himself 
to  Ellen  (pp.  243-49). 


SELECTIONS  FROM  TENNYSON— THEME  SUBJECTS. 


1.  Tennyson’s  life  (pp.  7-26). 

2.  The  story  of  Arthur  (up  to 
the  time  of  “Gareth  and  Lynette”). 

3.  The  story  of  Gareth  and  Lyn- 
ette. 

4.  Explanation  of  the  allegory  in 
“Gareth  and  Lynette”  (pp.  313-15). 

5.  The  story  of  Lancelot  and 
Elaine. 

6.  “Lancelot  and  Elaine”  as  an 
“idyll.”  (Explain  the  meaning  of 


the  term  as  first  used,  as  used  by 
Tennyson;  and  illustrate  from  the 
poem  in  question.) 

7.  The  story  of  Lancelot  and 
Guinevere  (as  indicated  in  “Lance- 
lot and  Elaine,”  or  with  considera- 
tion also  of  future  events). 

8.  “The  Passing  of  Arthur.” 

9.  Character  sketches  of  Lance- 
lot, Guinevere,  Arthur,  Bedivere, 
Elaine,  Gareth,  Lynette.  (See,  for 


SELECTIONS  FOR  READING  ALOUD 


21 


example,  pp.  112,  113,  118,  etc.) 
fc  10.  The  story  of  any  of  the  short 
poems  in  the  volume,  e,  g.: 

“Mariana”  (pp.  174-76,  321, 
322). 

“The  Gardener’s  Daughter” 
^ (pp.  210-19). 

“St.  Simeon  Stylites”  (pp. 
220-27,  336). 

“Ulysses”  (pp.  227-29,  337, 
338). 

11.  Paraphrase  of  “The  Re- 
venge” (pp.  279-86;  with  explana- 
tion of  historical  background,  p. 
357). 

12.  Tennyson’s  view  of  the  poet 
and  his  mission  (pp.  182-84,  323, 
191-202,  328,  297-302,  361). 

13.  “The  Lady  of  Shalott”  and 
Elaine. 

14.  A contrast  of  “The  Lotos- 

SELECTIONS  FROM  TENNYSON— 1 

1.  — Gareth  wins  his  first  quest 
(pp.  77-81). 

2.  — Gareth  rescues  a Baron  (pp. 
85-88). 

• 3. — The  encounter  with  Sir  Morn- 

ing-Star (pp.  89-92). 

4. — The  encounters  with  Noonday 
Sun  and  Evening-Star  (pp.  93-98). 

^ 5. — Gareth  and  Lancelot  (pp.  100- 

103). 

6.  — The  end  of  Gareth’s  quest 
(pp.  105-7). 

7.  — Elaine  and  Lancelot’s  shield 
(pp.  108-9,  116-21). 

8.  — Lancelot  and  Guinevere  (111- 
13). 

9.  — Lancelot  is  wounded  (pp.  123- 
25). 

10.  — Gawain  and  Elaine  (pp.  129- 
32). 


Eaters”  and  “Ulysses”  (in  attitude 
toward  life,  for  instance). 

15  Summary  of  Tennyson’s  esti- 
mate of  Wellington.  (On  p.  243  he 
calls  Wellington  the  “greatest 
soldier  ” Compare  Caesar  or  Han- 
nibal or  Alexander  or  Napoleon  or 
Washington.) 

16.  The  occasion  and  purpose  of 
“In  Memoriam”  (pp.  351-55). 

17.  “Merlin  and  the  Gleam”  as  a 
summary  of  Tennyson’s  poetic 
career  and  ambitions  (p.  361). 

18.  In  order  to  bring  out  the  dif- 
ferent conceptions  of  religion  by 
Sir  Galahad  and  St.  Simeon  Stylites, 
write* 

(1)  Sir  Galahad’s  opinion  of 
St.  Simeon. 

(2)  St.  Simeon’s  opinion  of 
Sir  Galahad. 

LECTIONS  FOR  CLASS  READING. 

11.  — Elaine  nurses  Lancelot  (pp. 
135-41). 

12.  — The  death  of  Elaine  (pp.  141- 
47). 

13.  — Elaine  comes  to  court  (pp. 
150-54), 

14.  — “The  Passing  of  Arthur” 
(pp.  163-73). 

15.  — The  shorter  poems  in  the 
volume  should  generally  be  read  as 
wholes  if  read  in  class.  Among 
those  best  adapted  to  such  reading 
are: 

“Break,  Break,  Break”  (p. 
233). 

“The  Song  of  the  Brook” 
(pp.  234-35). 

“The  Revenge”  (pp.  279-86). 

“The  Throstle”  (p.  303). 

“Crossing  the  Bar”  (p.  304). 


AS  YOU  LIKE  IT— THEME  SUB.IECTS. 

(See  also  subjects  for  “The  Mer-  i to  its  source  (pp.  30-37). 

chant  of  Venice.”)  2.  Pastoral  elements  in  “Ay  You 

1.  “As  You  Like  It”  in  relation  * Like  It”  (p.  32). 


f 


22 


THEME  SUBJECTS  AND 


3.  The  use  of  prose  in  this  play 
(p.  37). 

4.  The  songs  (the  purpose  of 
each  and  its  effectiveness  in  its 
place). 

5.  Narrative  themes  on  the  fol- 
lowing stories: 

Orlando  and  Oliver. 

The  banished  Duke  and  his 
brother. 

Orlando  and  Rosalind. 

Oliver  and  Celia. 

Touchstone  and  Audrey. 

Silvius  and  Phoebe. 

6.  A description  of  the  Forest 
of  Arden;  or  some  forest  the  stu- 
dent knows  where  events  similar  to 
those  of  this  play  might  be  imag- 
ined to  take  place. 

7.  Discuss  the  reasonableness 
Df  the  reformation  of  Duke  Fred- 
erick and  Oliver. 

8.  The  relation  of  Jaques  to  the 
main  plot,  or  any  of  the  minor 
plots,  of  the  play. 

AS  YOU  LIKE  IT— SELECd 

1.  — The  wrestling  match  (pp.  57- 
64). 

2.  — Rosalind  is  banished  (pp.  67- 
71). 

3.  — The  banished  Duke  and  his 
companions  (pp.  72-75,  84-86,  88- 
91). 

4.  — Orlando’s  flight  (pp.  76-79,  92- 
96). 

5.  — Corin  and  Touchstone  (pp.  99- 

101). 

6.  — Love  verses  to  Rosalind  (pp. 


9.  The  dramatic  structure  of 
“As  You  Like  It.”  (How  are  the 
subordinate  stories  related  or  com- 
bined with  the  main  ones?) 

10  Satire  in  this  play  (e.  g.,  p. 
157,  etc.). 

11.  Character  sketches  of  the 
following: 

Orlando.  (Is  he  more  than 
a rather  conventional  ro- 
mantic lover?) 

Rosalind. 

Celia. 

Jaques.  (Is  he  really  melan- 
choly?) 

Touchstone. 

12.  What  becomes  of  Adam? 
(Let  the  student  devise  a way  to 
use  him  later  in  the  play.) 

13.  Lessons  from  “As  You  Like 
It.” 

14.  Three  of  the  most  used  quo- 
tations and  the  cause  of  their 
popularity. 

15.  Shakspere’s  humor — compare 
Dickens. 

)NS  FOR  CLASS  READING. 

98,  101-107). 

7.  — Rosalind  and  Orlando  (pp. 
109-114,  129-35). 

8.  — Touchstone  and  Audrey  (pp. 
114-118,  145-47,  152-54). 

9.  — Silvius  and  Phoebe  (pp.  121- 
127,  137-40). 

10.  — Oliver  arrives  in  the  forest 
(pp.  140-44). 

11.  — The  climax  in  the  compli- 
cated love  stories  (pp.  147-52) 

12.  — The  conclusion  (pp  154-63). 


THE  VICAR  OF  WAKEFIELD— THEME  SUBJECTS. 


1.  Goldsmith’s  life  (pp.  9-16). 

2.  Some  of  Goldsmith’s  friends 

(pp.  12-18). 

3.  Character  sketch  of  Goldsmith 
(pp.  16-18;  and  indications  in  “The 
yicar  of  Wakefield”). 


4.  Goldsmith’s  literary  work 
(kinds  and  character  of  each;  pp. 
19,  20). 

5.  The  Vicar  as  a portrait  of 
Goldsmith’s  father. 

6.  Autobiographical  elements  in 


SELECTIONS  FOR  READING  ALOUD 


23 


the  story  of  George  (pp.  153  ff.). 

7.  Parallels  between  “The  Vicar 
of  Wakefield”  and  the  “Book  of 
Job.” 

8.  Character  sketches  of  the 
Vicar,  his  wife,  George,  Olivia, 

^ Sophia,  Moses,  Squire  Thornhill, 
Sir  William  Thornhill,  Jenkinson. 

9.  Narratives  of  different  parts 
of  the  story;  e g.: 

The  Vicar’s  fortune — how  lost 
and  how  recovered. 

Mr.  Burchell’s  story. 

The  sale  of  the  Vicar’s  horses. 

The  search  for  Olivia. 

George’s  experiences  “seeking 
his  fortune.” 

THE  VICAR  OP  WAKEFIELD— S 

1.  — The  first  misfortune  (pp.  33- 
36). 

2.  — Squire  Thornhill  and  Mr. 
Burchell  (pp.  39-44). 

3.  — The  Vicar’s  new  home  (pp. 
46-50). 

4.  — The  Squire  appears  (pp.  51- 
54). 

r 5. — “The  family  endeavor  to  cope 
with  their  betters”  (pp.  81-86). 

6.  — The  party  at  Flamboroi’  ^h’s 
(pp»  87-92). 

7.  — Moses  goes  to  the  fair  (pp. 

‘ 94-99). 

8.  — The  Vicar  goes  to  the  fair 
(pp.  105-111). 

9.  — A climax  in  Olivia’s  story  (pp. 
129-36). 


The  career  of  Mr.  Jenkinson. 

The  Vicar  in  prison. 

10.  The  untangling  of  the  plot 
(pp.  235  ff.).  (A  theme  suggesting 
other  ways  of  untangling  it  might 
rouse  interest.) 

11.  Moses  (or  the  Vicar)  at  some 
fair  of  the  present  day. 

12.  English  prisons  in  Gold- 
smith’s day. 

13.  Paraphrase  of  the  Ballad  re- 
cited by  Mr.  Burchell  (pp.  68-73). 

14.  Comparison  of  this  novel 
with  one  of  Dickens  or  Scott  with 
reference  to  (1)  style,  (2)  interest, 
(3)  purpose,  (4)  humor,  etc. 


:.ECTIONS  FOR  CLASS  READING. 

10.  — George  in  London  (pp.  154- 
62). 

11.  — George’s  wanderings  (pp.  164- 
70). 

12.  — The  Vicar  finds  Olivia  (pp. 
174-80). 

13.  — “Fresh  calamities”  (pp.  192- 
97). 

14.  — The  Vicar  in  gaol  (pp.  198- 
210). 

15.  — The  climax  of  misfortune 
(pp.  216-27). 

16.  — Mr.  Burchell’s  true  identity 
appears  (pp.  235-43). 

17.  — The  Squire’s  villainy  is  un- 
masked (pp.  245-52). 

18.  — Jenkinson  to  the  rescue  (pp. 
256-60). 


THE  PILGRIM'S  PROGRESS— THEME  SUBJECTS. 


1.  Bunyan’s  life  (pp.  5-15). 

2.  The  history  of  England  dur- 
ing Bunyan’s  life  (especially  his 
manhood,  the  Civil  War,  Crom- 
well’s Protectorate,  and  the  Re- 
storation; pp.  6,  7,  11,  13,  etc.). 

3.  An  imaginary  picture  of  Bun- 
4 yan  in  prison;  or  a scene  between 

Bunyan  and  his  jailor  (pp.  12-14). 


4.  Write  a denunciation  of  Bun- 
yan playing  “cat”  (p.  8)  in  the 
style  of  Christian’s  discourse. 

5.  Narrative  and  descriptive 
themes  on  various  adventures  of 
the  book  or  places  described,  as 
follows: 

The  Slough  of  Despond  (pp. 

43-45). 


24: 


THEME  SUBJECTS  AND 


Christian  and  Mr.  Worldly 
Wiseman  (pp.  46  ff.). 

At  the  House  of  the  Inter- 
preter (pp.  61  ff.). 

Christian  and  his  roll,  on  the 
Hill  Difficulty  (pp.  77-82). 

Christian  in  the  Palace 
Beautiful  (pp.  92-96). 

Christian  and  Apollyon  (pp. 
98-104). 

In  the  Valley  of  the  Shadow 
of  Death  (pp.  104-111). 

The  adventures  of  Faithful 
(pp.  112  ff.). 

Vanity  Fair  (pp.  140-53). 

By-ends  and  his  companions 
(pp.  155  ff.). 

Demas  and  the  Hill  Lucre 
(pp.  165-68). 

Along  the  River  of  the 
Water  of  Life  (pp.  171  ff.). 

Doubting  Castle  and  the 
Giant  Despair  (pp.  175  ff.). 

In  the  Delectable  Mountains 

(pp.  182-88). 

In  the  country  of  Beulah 
(pp.  230-32). 

Entrance  into  the  Celestial 
City  (pp.  232  ff.). 

THE  PILGRIM’S  PROGRESS— SE 

1.  — Christian  starts  on  his  jour- 
ney (pp.  35-40). 

2.  — The  Slough  of  Despond  (pp. 
42-45). 

3.  — Christian  and  Mr.  Worldly 
Wiseman  (pp.  46-50). 

4.  — Some  of  the  lessons  at  the 
house  of  the  Interpreter  (pp,  62-64, 
67-68,  70-72). 

5.  — The  adventure  of  the  Hill 
Difficulty  (pp.  78-82). 

6.  — Christian  and  Apollyon  (pp. 
98-104). 

7.  — In  the  Valley  of  the  Shadow 
of  Death  (pp.  104-11). 

8.  — The  world’s  treatment  of 
Pliable  (pp.  113,  114). 

9.  — Faithful’s  meeting  with  Shame 


6.  A defence  (or  criticism)  of 
Christian’s  leaving  his  family  (see 
pp.  90,  91,  etc.). 

7.  Bunyan’s  idea  of  heaven  (pp. 
41,  42,  235  ff.). 

8.  An  original  imitation  of  some 
episode  from  “The  Pilgrim’s  Prog- 
ress.” (Cf.  Hawthorne’s  “Celestial 
Railroad”  in  “Mosses  from  an  Old 
Manse.”)  This  may  profitably  take 
the  form  of  a satire  (or  a series 
of  satires)  on  present-day  evils;  e. 
g.,  “soulless  corporations,”  “politi- 
cal corruption,”  “bridge-whist 
gambling,”  “tainted  money,”  etc. 
Christian  or  Hopeful  may  be 
brought  into  a modern  city  and 
made  to  observe  its  faults. 

9.  Character  sketches  of  Chris- 
tian, Pliable,  Worldly  Wiseman, 
Apollyon,  Faithful,  Talkative,  By- 
ends,  Hopeful,  Ignorance.  (Note, 
as  to  each,  whether  or  not  he  has 
individual  traits,  or  Is  a mere  per- 
sonification of  some  quality.) 

10.  Bunyan’s  knowledge  of 
human  nature.  (Illustrate  by  ex- 
tracts.) 


ACTIONS  FOR  CLASS  READING, 
(pp.  119-21). 

10. — Talkative  (pp.  124-29). 

11.  — Vanity  Fair  (pp.  140-46). 

12.  — The  trial  of  the  prisoners 
(pp.  147-53). 

13.  — Demas  and  the  Hill  Lucre 
(pp.  165-68). 

14.  — The  River  of  the  Water  of 
Life  (pp.  170,  171). 

15.  — The  encounter  with  the 
Giant  Despair  (pp.  175-82). 

16.  — On  the  Delectable  Mountains 

(pp.  182-88). 

17.  — Saved  by  the  Shining  One 
(pp.  201-203). 

18.  — The  Country  of  Beulah  (pp. 
229-32). 

19. — The  conclusion  (pp.  235-41). 


SELECTIONS  FOR  READING  ALOUD 


25 


IRVING’S  TALES  OF  A TRAVELLER— THEME  SUBJECTS. 


(See  subjects  for  “The  Sketch 
Book,”  p.  10  above;  also  “Manual,” 
p.  15.) 

1.  American  literature  before 
Irving  (pp.  9-11). 

2.  Irving’s  boyhood  (with  par- 
ticular reference  to  occupations 
that  affected  his  writings;  pp.  12, 
13). 

3.  Irving’s  life  abroad  (pp  14, 
15,  18  ff.). 

4.  Does  Irving  present  his 
“moral”  according  to  his  declara- 
tion on  page  37? 

5.  The  plan  of  this  collection  of 
tales.  (See  “Manual,”  pp.  12-13.) 

6.  An  original  ghost  story  by  the 
student. 

7.  Description  of  the  picture 
painted  by  the  young  Italian  (p. 
139). 

8.  The  story  of  the  “Poor-devil 
Author”  and  the  highwayman  (pp. 
171-77). 

9.  A call  upon  a publisher  (sug- 
gested by  pp.  162  ff.). 

10.  Character  sketch  of  Buck- 
thorne. 

11.  A country  fair  today  (cf.  the 
fair  described  by  Buckthorne,  pp. 
200  ff.). 

12.  Buckthorne  and  his  “Sacha- 
rissa.” 

13.  The  disadvantages  of  a 
“poetical  temperament.”  (See  the 


I story  of  Buckthorne,  throughout.) 

14.  The  career  of  a strolling 
I player  (pp.  268  ff.). 

15.  An  English  traveller  (as  por- 
trayed by  Irving,  pp.  295  ff.,  334 
ff.). 

16.  An  imaginary  story  of  the 
acquaintance  of  the  Polish  count’s 
daughter  and  the  Spanish  princess’s 
nephew  before  the  adventure  nar- 
rated in  “The  Belated  Travellers.” 

17.  Which  “Tale”  most  appeals 
to  your  sense  of  humor?  Why? 

18.  Hell-Gate  as  it  is  today. 

19.  The  story  of  Captain  Kidd 
(pp.  393  ff.). 

20.  Character  sketches  of  Tom 
Walker  and  his  wife  (showing  dif- 
ferences, etc.). 

21.  Nature  pictures  in  “The 
Devil  and  Tom  Walker.”  (Note 
appropriateness  to  the  character  of 
the  tale.) 

22.  Comparison  of  the  stranger 
at  the  inn  (in  “Wolfert  Webber,” 
pp,  435  ff.)  with  Billy  Bones,  in 
“Treasure  Island.” 

23.  Dutch  customs  as  reflected  in 
the  Knickerbocker  stories. 

24.  Character  sketches  of  Wol- 
fert Webber,  Dirk  Waldron,  Ramm 
Rapelye,  Black  Sam. 

25.  An  imaginary  account  of  the 
real  finding  of  Captain  Kidd’s 
treasure. 


TALES  OF  A TRAVELLER— SELECTIONS  FOR  CLASS  READING. 


1.  — The  “Adventure  of  the  Ger- 
man Student”  (pp.  80-88). 

2.  — The  “Adventure  of  the  Mys- 
terious Picture”  (pp.  89-98). 

3.  — The  climax  in  the  young  Ital- 
ian’s story  (pp.  131-40). 

4.  — “A  Literary  Dinner”  (pp  148- 
52). 

5.  — The  “Poor-Devil  Author”  and 
the  highwayman  (pp.  170-77) 


6.  — How  Buckthorne  became  an 
actor  (pp.  204-210). 

7.  — The  will  of  Buckthorne’s 
uncle  (pp.  250-53). 

8.  — “The  Booby  Squire”  (pp.  260- 

66). 

9.  — The  “Adventure  of  the  Little 
Antiquary”  (pp.  304-10). 

10.  — The  “Adventure  of  the  Pop* 
kins  Family”  (pp.  334-38). 


26 


THEME  SUBJECTS  AND 


11.  — The  capture  of  the  painter 
(pp.  342-49). 

12.  — How  the  bandit  chieftain  was 
driven  to  outlawry  (pp.  350-53). 

13.  — “The  Adventure  of  the  Eng- 
lishman” (pp.  378-85) 

14. — “Hell-Gate”  (pp.  389-92). 

15.  — Tom  Walker  and  the  black 
man  (pp.  401-406). 

16.  — Wolfert  Webber’s  home  and 
family  (pp.  418-24). 


17.  — Wolfert  at  the  inn  (pp.  424- 
29). 

18.  — A stranger  at  the  inn  (pp. 
435-39). 

19.  — The  “Adventure  of  the  Black 
Fisherman”  (pp.  444-49). 

20.  — The  stranger  departs  (pp. 
451-54). 

21.  — Wolfert  seeks  the  buried 
treasure  (pp.  468-75). 

22.  — Wolfert’s  recovery  (pp.  475- 
82). 


FRANKLIN’S  AUTOBIOGRAPHY— THEME  SUBJECTS. 


1.  Give  some  of  the  chief  his- 
torical events  during  Franklin’s 
life  (pp.  9,  10,  etc.). 

2.  Franklin’s  diplomatic  services 

(pp.  16-18). 

3.  Character  sketch  of  Franklin 
(pp.  21-24). 

4.  Franklin  as  a scientist  (pp.  14, 
15,  242  ff.). 

5.  The  scientific  use  of  kites  in 
Franklin’s  time  and  now. 

6.  Character  sketch  of  Franklin’s 
father  (pp.  39  ff.). 

7.  How  Franklin  learned  to  write 
(pp.  44  ff. ; cf.  Stevenson’s  meth- 
ods). 

8.  Books  that  infiuenced  Frank- 
lin (pp.  42,  47,  etc.). 

9.  The  newspaper  of  Franklin’s 
time  (pp.  53  ff.,  118  ff.,  157  ff.,  etc.). 
Compare  it  with  newspapers  of  to- 
day. 

10.  Franklin’s  first  journey  from 
Boston  to  Philadelphia  (pp.  56  ff.; 
cf.  a similar  trip  now). 

11.  Franklin’s  first  visit  to  Lon- 
don (pp.  87  ff.). 

12.  The  career  of  the  “Junto” 
(pp.  114  ff.,  164  ff.). 

13.  The  first  public  library  in 
America  (pp.  129  ff.). 

14.  The  story  (and  the  char- 


acter) of  Mrs.  Franklin  (pp.  63,  67, 
80,  128,  134,  etc.). 

15.  Discussion  of  the  merits  of 
Franklin’s  suggestion  about  the 
teaching  of  languages  (pp.  162, 
163). 

16.  The  origin  of  police  and  fire 
protection  for  Philadelphia  (pp. 
167  ff.). 

17.  Explanation  of  the  construc- 
tion and  working  of  the  Franklin 
stove  (p.  188). 

18.  How  the  University  of  Penn- 
sylvania was  established  (pp.  189 
ff.). 

19.  Franklin  as  an  office-holder 
(pp.  15,  165,  193  ff.,  206,  etc.). 

20.  Franklin  in  military  affairs 
(pp.  215  ff.,  230  ff.). 

21.  Description  (or  review)  of  a 
number  of  “Poor  Richard’s  Al- 
manac.” 

22.  Write  a supposed  diary  of 
Franklin  with  items  from  days 
when  he  was  in  need  (p.  62)  and 
days  of  prosperity  (p.  69),  etc. 

23.  Franklin’s  scheme  for  seem- 
ing “humble”  (pp.  150-51). 

24.  Apply  Franklin’s  views  of 
political  parties  (p.  152)  to  our 
present  conditions. 


SELECTIONS  FOR  READING  ALOUD 


27 


FRANKLIN’S  AUTOBIOGRAPHY— SELECTIONS  FOR  CLASS  READING. 


1.  — Introduction  (pp.  29-31). 

2.  — Franklin’s  boyhood  (pp.  36- 
39,  41-44). 

3.  — How  Franklin  learned  to 

f write  (pp.  44-48,  50-54). 

4.  — A journey  from  Boston  to 
Philadelphia  (pp.  56-62). 

5.  — Franklin  deals  with  a drunk- 
ard (pp.  74-76). 

6.  — Franklin  and  his  friends  in 
Philadelphia  (pp.  80-83). 

7.  — Franklin’s  “principles  and 
morals”  (pp.  109-12,  124). 

8. — The  “Junto”  (pp.  113-15,  164, 
165). 

9.  — Franklin  and  his  newspaper 
(pp.  118-26,  157,  158). 

10.  — Courtship  and  marriage  (pp. 
126-28). 

11.  — Starting  a library  (pp.  129- 
33). 

12.  — Franklin’s  religion  and  fru- 


gality (pp.  134-36,  153). 

18. — Seeking  “moral  perfection” 
(pp.  137-46). 

14.  — “Poor  Richard’s  Almanac” 
(pp.  155-57). 

15.  — Franklin  in  public  affairs 
(pp.  167-70,  178-80,  196-98,  199-206. 
etc.). 

16.  — Franklin  and  Whitefield  (pp. 
170-74). 

17.  — The  Quaker  attitude  towarJ 
war  (pp.  182-88). 

18.  — The  University  of  Pennsyl- 
vania (pp.  189-93). 

19.  — Plans  for  the  union  of  the 
colonies  (pp.  208-10). 

20.  — Franklin  as  a military  leader 
(pp.  230-37). 

21.  — Franklin  as  a scientist  (pp. 
242-48). 

22.  — A voyage  to  England  in  1757 
(pp.  258-62). 


POPE’S  ILIAD,  BOOKS  I,  VI,  XXII,  XXIV— THEME  SUBJECTS. 


1.  Sketch  of  Pope’s  life  (pp.  11- 
23). 

2.  Pope’s  relations  with  Addison 
(pp.  14-18).  Cf.  Macaulay  on  Ad- 
dison. 

3.  Studies  of  Pope’s  translation, 
in  relation  to  the  four  points  men- 
tioned on  p.  27,  with  illustrations 
chosen  by  the  student  (either  one 
theme  or  four) 

4.  Summary  of  the  chief  events 
assumed  to  have  preceded  Book  I 
(pp.  39-40  and  hints  in  the  progress 
of  the  poem). 

5.  Narrative  themes  on  different 
parts  of  the  story,  as  follows: 

The  quarrel  of  Agamemnon 
and  Achilles  (pp.  45  ff.). 

Glaucus  and  Diomed  (pp.  78- 
83). 

^ Hector’s  mission  within  the 


walls  in  Book  VI. 

The  encounter  of  Achilles  and 
Hector  (pp.  132  ff.). 

Priam’s  visit  to  Achilles  (pp. 
164  ff.). 

6.  Paraphrases  of  short  passages 
(e.  g.,  some  of  those  indicated  be- 
low for  class  reading)  in  the  man- 
ner of  the  literal  prose  translation 
quoted  on  pp.  100,  107,  etc. 

7.  Character  sketches  of  Achilles, 
Hector,  Andromache,  Agamemnon, 
Nestor,  Paris,  Priam,  Helen;  as  re- 
vealed in  the  books  read  and  in  the 
synopses  of  the  others. 

8.  The  part  played  by  the  gods 
in  Book  I.  (This  may  of  course  be 
applied  elsewhere  also.) 

9.  An  original  account  of  some 
thrilling  event  in  Homeric  style, 
with  epic  similes,  speeches,  etc. 


28 


THEME  SUBJECTS  AND 


POPE’S  ILIAD— SELECTIONS  FOR  CLASS  READING. 


1.  — The  quarrel  of  Agamemnon 
and  Achilles  (pp.  45-49,  51-52). 

2.  — Nestor’s  intercession  (pp.  52- 
54). 

3.  — Achilles  and  his  mother  (pp. 
56-60). 

4.  — The  Greek  sacrifices  (pp.  61- 
62). 

5.  — Jupiter  and  Juno  (pp.  64-66). 

6.  — Glaucus  and  Diomed  (pp.  78- 
82). 

7.  — Hecuba’s  sacrifice  to  Pallas 
(pp.  84-86). 

8.  — Hector  and  Andromache  (pp. 
89-95). 


9.  — Hector  in  the  attack  on  the 
wall  (p.  107). 

10.  — Priam’s  lament  and  plea  to 
Hector  (pp.  127-29). 

11.  — ^Hector  awaiting  Achilles,  * 
and  his  flight  (pp.  130-33). 

12.  — The  combat  of  Hector  and 
Achilles  (pp.  138-41). 

13.  — Andromache  hears  of  Hec- 
tor’s death  (pp.  145-48). 

14.  — Priam  starts  to  the  Greek 
camp  (pp.  164-67). 

15. — Priam’s  plea  to  Achilles  (pp. 
173-75). 

16.  — The  lament  over  Hector’s 
body  (pp.  183-86). 


JULIUS  CJESAR— THEME  SUBJECTS. 


(For  general  subjects  on  Shak- 
spere  and  the  drama  see  plays  pre- 
viously treated.) 

1.  The  true  history  at  the  basis 
of  this  play. 

2.  “Julius  Csesar’’  and  its  direct 
source  (pp.  31-33,  40-42,  and  va- 
rious passages  in  the  notes). 

3.  Shakspere’s  opinion  of  the 
common  people  (as  illustrated  in 
his  treatment  of  the  mob  in  this 
play;  cf.  “Coriolanus’’  and  “II 
Henry  VI’’). 

4.  Defense  or  criticism  of  the 
treatment  of  Caesar’s  character  in 
this  play.  (See  pp.  173,  174.) 

5.  The  use  of  prodigies  and  por- 
tents (p.  63,  etc.;  cf.  strange  hap- 
penings on  the  night  of  Duncan’s 
murder  in  “Macbeth’’). 

6.  The  treatment  of  Cicero  in 
this  play.  (Why  is  so  inadequate  a 
notion  of  his  greatness  given?  Cf. 
the  treatment  of  Caesar  himself.) 

7.  A contrast  of  Brutus  and 
Cassius: 

(a)  As  patriots, 

(b)  As  political  and  military 
leaders, 


(c)  As  men. 

8.  Brutus  in  his  domestic  rela- 
tions (pp.  80-83,  etc.). 

9.  Character  sketches  of  Casca, 
Calpurnia,  Portia,  Antony. 

10.  Comparison  of  the  Antony 
of  this  play  with  Shakspere’s  later  . 
treatment  of  him  in  “Antony  and 
Cleopatra.’’ 

11.  Paraphrases  of  Antony’s  fu- 

neral oration,  and  the  quarrel  scene 
(pp.  110-18,  125-31).  ^ 

12.  The  staging  of  the  ghost 
scene  (p.  139). 

13.  The  uses  of  verse  and  prose 
in  this  play. 

14.  Narrative  themes  on  the  fol- 
lowing subjects: 

The  trouble  between  Caesar 
and  Pompey  (mentioned  on 
P.  47). 

The  offering  of  the  crown  to 
Caesar  (pp.  58-60). 

The  origin  and  progress  of 
the  conspiracy  against 
Caesar  (pp.  51  ff.,  70  ff., 
etc.). 

The  events  of  the  Ides  of  4- 
March  (pp.  84  ff.). 


SELECTIONS  FOR  READING  ALOUD 


29 


What  happened  just  after 
the  murder  of  Caesar  (pp. 
98-107). 

Caesar’s  funeral  (pp.  108-19). 
The  quarrel  of  Brutus  and 
Cassius  (pp.  125-31). 

^ The  Battle  of  Philippi.  (May 


be  treated  in  newspaper 
style.) 

The  story  of  Portia.  (Elabo- 
rate from  hints  on  p.  133, 
and  previously.) 

15.  Why  the  conspiracy  failed. 


JULIUS  CiESAR— SELECTIONS  FOR  CLASS  READING. 


1.  — The  Tribunes’  rebuke  of  the 
Commoners  (pp.  46-48). 

2.  — Cassius  sounds  Brutus  (pp. 
50-56). 

3.  — Caesar’s  opinion  of  Cassius  and 
of  Antony  (pp.  57,  58). 

4.  — Casca  on  the  offer  of  the 
crown  (pp.  58-61). 

5.  — Casca  and  Cassius  on  the 
prodigies  (pp.  62-68). 

6.  — Brutus  muses  over  the  con- 
spiracy (pp.  70-74). 

7.  — The  conspiracy  is  completed 
(pp.  75-80). 

8.  — Brutus  and  Portia  (pp.  80-83). 

9.  — The  assassination  of  Caesar 
(pp.  94-98). 


10.  — Antony  and  the  conspirators 

(pp.  100-106). 

11.  — Brutus  to  the  Citizens  (pp. 
108-10). 

12.  — Antony  and  the  mob  (pp. 
110-18). 

13.  — The  quarrel  of  Brutus  and 
Cassius  (pp.  125-31). 

14.  — Brutus  *on  the  night  before 
Philippi  (pp.  136-40). 

15.  — Misgivings  before  the  battle 
(pp.  144-46). 

16.  — The  death  of  Cassius  (pp. 
148,  149,  152). 

17.  — The  death  of  Brutus  (pp. 
154-58). 


MILTON’S  MINOR  POEMS— THEME  SUBJECTS. 


1.  The  historical  background  of 
Milton’s  early  life  (pp.  11-19). 

2.  The  life  of  Milton.  (May  be 
divided  'nto  three  subjects,  accord- 
ing to  the  divisions  indicated  on 
pp.  20,  26,  31). 

3.  Summaries  or  condensed  para- 
phra.ses  of  “L’ Allegro”  and  ‘T1  Pen- 
seroso”  (pp.  53-65). 

4.  Comparison  of  the  poems  just 
mentioned,  as  to  invocation,  plan, 
versification,  etc.  (pp.  33,  34).  Com- 
parison of  the  two  theories  of  life’s 
purposes  as  shown  by  the  two 
poems. 

5.  Nature  pictures  in  these  poems 
(or  the  subject  may  be  limited  to 

^ one  of  them,  or  to  some  specific 
picture). 


'6.  Amusements  that  Milton  en- 
joyed. 

7.  The  masque  as  a literary  form 
(pp.  36  ff.). 

8.  The  occasion  for  “Comus” — 
its  historical  background  and  basis 
in  fact  (pp.  35  ff.). 

9.  Moral  lessons  from  ’’Comus.” 
Reunite  these  lessons  in  the  form 
of  a brief  sermon.  (See  p.  49.) 

10.  The  story  of  “Comus”  (a 
simple  narration  of  just  what  hap- 
pens). 

11.  Lyric  elements  in  “Comus” 
(pp.  36,  39). 

12.  Pastoral  elements  in 
“Comus”  (p.  40). 

• 13.  Description  of  Comus  and  his 
crew  (pp.  70,  etc.). 


30 


THEME  SUBJECTS  AND 


14.  The  story  of  Circe  (pp.  68, 
etc.,  and  the  “Odyssey”). 

15.  The  staging  of  “Comus.” 

16.  The  relations  of  Milton  and 
Edward  King  (pp.  43,  44). 

17.  “Lycidas”  as  a personal  la- 
ment. (Cf.  Shelley’s  “Adonais,” 
Tennyson’s  “In  Memoriam,”  or 
Arnold’s  “Thyrsis.”) 


18.  Pastoral  elements  in  “Ly- 
cidas” (pp.  44,  45). 

19.  A defense  or  criticism  of  the 
digression  on  corruption  in  the 
church  (p.  Ill)  as  a part  of  this 
poem. 

20.  The  relation  of  these  “Minor 
Poems”  to  Milton’s  Puritanism  (pp. 
47  ff.). 


MILTON’S  MINOR  POEMS— SELECTIONS  FOR  CLASS  READING. 


1.  — The  whole  of  “L’Allegro”  and 
“II  Penseroso”  (pp.  53-65). 

2.  — The  Attendant  Spirit’s  first 
speech  (pp.  66-70). 

3.  — The  song  of  Comus  (pp.  70- 
72) 

4.  — The  Lady’s  soliloquy  and  song 
and  Comus’s  comment  (pp.  73-76). 

5.  — The  Brothers’  moral  reflec- 
tions (pp.  81-85). 


6.  — The  Attendant  Spirit  tells  of 
the  captivity  of  the  Lady  (pp.  86- 
89). 

7.  — Sabrina  and  her  song  (pp.  98- 

102). 

8.  — “The  Spirit  epiloguizes”  (pp. 
104-6). 

9.  — The  whole  of  “Lycidas”  (pp. 
107-14). 


IRVING’S  OLIVER  GOLDSMITH— THEME  SUBJECTS. 


1.  Literary  patronage  (up  to 
Goldsmith’s  time,  and  today;  pp. 
36-41). 

2.  Hack-w'riting  in  Goldsmith’s 
time  and  now  (pp.  41-44). 

3.  Literary  incomes — then  and 
now. 

4.  The  old-time  book-seller  and 
the  present-day  publisher  (pp.  44- 
47). 

5.  London  in  Goldsmith’s  time 
(pp.  47-49). 

6.  The  Temple — location,  history, 
present  condition  (pp.  50,  51). 

7.  Goldsmith’s  first  schoolmaster 
and  a country  school-teacher  of  the 
present  time  (pp.  62-64). 

8.  Goldsmith’s  literary  uses  of 
events  in  his  own  early  life  (pp.  69, 
83,  etc.). 


Court  (or  the  Temple). 

12.  An  imaginary  conversation 
between  Goldsmith  and  Dr.  John- 
son (or  Goldsmith  and  Boswell). 
This  will  be  best  handled  if  defi- 
nite subjects  are  suggested — as 
“advising  economy,”  or  “words  of 
encouragement  by  Dr.  J.  after 
Goldsmith’s  despondency.” 

13.  An  account  of  a meeting  of 
the  Literary  Club. 

14.  The  story  of  Goldsmith  and 
the  Jessamy  Bride.  (An  imaginary 
elaboration  of  it,  or  a different  end- 
ing, may  be  attempted.) 

15.  The  trials  of  staging  a play 
(pp.  228  ff.,  340  ff.). 

16.  A character  sketch  of  Gold- 
smith. 

17.  Was  Irving  right  in  his  esti- 
mate of  Goldsmith’s  character  (pp. 
408-11;  and  many  parts  of  the  biog- 
raphy)? 

18.  Goldsmith’s  relations  with 
Garrick  (or  with  Johnson,  Boswell, 

eynolds,  or  Burke), 


9.  Goldsmith  in  the  University 
(pp.  71  ff.). 

10.  Goldsmith  the  traveller  (pp. 


SELECTIONS  FOR  READING  ALOUD 


31 


19.  Goldsmith’s  last  days  (pp. 
387  ff.). 

20.  Write  extracts  from  an  im- 
aginary diary  kept  by  Goldsmith — 
(1)  during  his  days  of  financial  ' 


stress,  (2)  during  days  of  triumph 
(p.  245,  etc.). 

21.  Goldsmith  before  the  sur- 
geons— a dramatization  (pp.  146 
ff.). 


•'  IRVING’S  OLIVER  GOLDSMITH— SELECTIONS  FOR  CLASS  READING. 


1. — Opening  estimate  of  Gold- 
smith (pp.  57,  58). 

• 2. — Goldsmith’s  early  education 

(pp.  62-65). 

3.  — Goldsmith  at  the  University 
(pp.  71-76). 

4.  — Goldsmith’s  “second  sally  to 
see  the  world’’  (pp.  86-90). 

5.  — Goldsmith  in  Edinburgh  (pp. 
94-98). 

6.  — Trying  to  earn  a living  (pp. 
115-21). 

7.  — Goldsmith  becomes  acquainted 
with  Dr.  Johnson  (pp.  168-71). 

8.  — Goldsmith  and  Boswell  (pp. 
178-81). 

9.  — “The  Vicar  of  Wakefield’’  (pp. 
192,  193,  207-10). 

10.  — “The  Traveller’’  (pp.  194- 
97). 

I 11. — Goldsmith  in  society  (pp. 
216-22). 


12.  — “The  Good-natured  Man’’  is 
played  (pp.  239-44). 

13.  — Goldsmith’s  life  in  prosperity 
(pp.  245-51). 

14.  — Goldsmith  and  the  “Jessamy 
Bride’’  (pp.  258-61,  285-93,  306-9, 
334-39,  395,  396). 

15.  — Goldsmith  as  a naturalist 
(pp.  267-70). 

16.  — “The  Deserted  Village’’  (pp. 
277-84). 

17.  — Some  jokes  on  Goldsmith 
(pp.  325-33). 

18.  — “She  Stoops  to  Conquer”  is 
presented  (pp.  344-50). 

19.  — Notes  about  Goldsmith  from 
Boswell  (pp.  357-64). 

20.  — Goldsmith’s  last  days  (pp. 
387-94). 

21.  — Concluding  estimate  (pp.  400- 
407). 


THE  HOUSE  OF  THE  SEVEN  GABLES— THEME  SUBJECTS. 


(See  the  editor’s  suggestions,  p.  22.) 

1.  Hawthorne’s  life  (pp.  5-11). 

2.  Character  sketch  of  Haw- 
thorne (pp.  12-14). 

3.  The  origin  of  the  idea  of  “The 
House  of  the  Seven  Gables”  (p.  17). 

4.  This  story  as  a “romance.” 
(Note  Hawthorne’s  definition  of 
romance,  p^23-25.) 

5.  Hawyforne’s  use  of  mesmer- 
ism. 

6.  r Ascriptions  of  scenes  and 
placeVfrom  the  story,  as  follows: 

'he  house  of  the  seven 
gables  ('pp.  27  ff.). 
Hepzibah’s  shop  (pp.  60  ff.). 
Maule’s  well. 

The  garden  (pp.  116  ff.,  etc.). 


The  Pyncheon  portraits. 

The  Judge  in  the  parlor  (pp. 
310  ff.). 

Narrative  themes  as  follows: 

The  first  Matthew  Maule  (pp. 
29-31). 

The  story  of  Alice  Pyncheon 
(pp.  223  ff.). 

Judge  Pyncheon  and  his  cousin 
Clifford  (pp.  357  ff.,  espec- 
ially). 

The  love  story  of  Phoebe  and 
Holgrave. 

The  Judge  calls  upon  Clifforcl 
(pp.  265  ff.). 

The  flight  of  Clifford  and 
Hepzibah  (pp.  294  ff.). 

Character  sketches  of  the 


32 


THEME  SUBJECTS  AND 


Judge,  Hepzibah,  Phoebe,  Clifford, 
Holgrave,  Uncle  Venner. 

9.  The  Pyncheon  chickens  (pp. 
118  ff.). 

10.  Witchcraft  in  Salem. 


11.  The  characteristics  of  a 
daguerreotype. 

12.  Describe  the  “Brook  Farm” 
experiment  and  Hawthorne’s  part 
in  it. 


THE  HOUSE  OP  THE  SEVEN  GABLES— SELECTIONS  FOR  CLASS 

READING. 


1.  — The  fate  of  Colonel  Pyncheon 
(pp.  33-39). 

2.  — The  later  Pyncheons  (pp.  IS- 
IS). 

3.  — The  house  at  the  beginning  of 
this  story  (pp.  51-54). 

4.  — Hepzibah  and  her  shop  (pp. 
56-64). 

5.  — Judge  Pyncheon  (pp.  83-86). 

6. — Phoebe  (pp.  100-101,  105-10). 

7.  — Phoebe  in  the  garden  (pp.  116- 
21) 

8.  — The  Judge  and  Phoebe  (pp. 
147-52). 

9.  — “Clifford  and  Phoebe”  (pp. 
168-77). 

10.  — Amusements  in  the  garden 
(pp.  180-82,  183-88,  190-92). 

11.  — Clifford  and  the  outside  world 


(pp.  199-204). 

12.  — Holgrave  on  the  Pyncheon 
family  (pp.  218-22). 

13.  — The  story  of  Alice  Pyncheon 
(pp.  238-48). 

14.  — “Phoebe’s  Good-by”  (pp. 

257-61). 

15.  — Hepzibah  and  the  Judge  (pp. 
265-67,  272-78). 

16.  — Hepzibah  finds  Clifford  (pp. 
286-93). 

17.  — Clifford  and  the  old  gentle- 
man on  the  train  (pp.  300-308). 

18.  — The  Judge  in  the  arm-chair 
(pp.  310-20). 

19.  — The  truth  about  Judge 
Pyncheon  (pp.  356-60). 

20.  — The  truth  about  Holgrave 
(pp.  362-64). 


A TALE  OP  TWO  CITIES— THEME  SUBJECTS. 


1.  The  historical  setting  of  “A 
Tale  of  Two  Cities,”  which  may  be 
treated  in  subdivisions  as  follows: 

The  condition  of  France  be- 
fore the  Revolution  (pp.  49 
ff.,  81  ff.). 

The  storming  of  the  Bastille. 

The  work  of  the  guillotine. 

2.  The  relation  of  “A  Tale  of 
Two  Cities”  to  Carlyle’s  “French 
Revolution”  (p.  41). 

3.  Narratives  of  the  following 
portions  of  the  novel: 

The  story  of  Dr.  Manette. 

The  story  of  Charles  Darnay. 
(May  be  divided:  before  his 
marriage  and  after  his  mar- 
riage.) 


The  story  of  Sydney  Carton. 

The  story  of  Madame  De- 
farge. 

4.  Character  sketches  of  the  fol- 
lowing: 

Mr.  Lorry. 

The  Crunchers. 

Mr.  Stryker. 

Lucie  Manette. 

Madame  Defarge. 

The  Marquis  St.  Evr^onde. 

5.  The  development  of  Carton’s 
character  (pp.  34,  35). 

6.  Original  plan  for  a dramatiza- 
tion of  “A  Tale  of  Two  Cities”  (pp. 
36,  37). 

7.  A complete  dramatization  of 


SELECTIONS  FOR  READING  ALOUD 


33 


some  specific  scene;  e.  g.,  Carton 
^ in  prison. 

8.  Themes  developing  the  con- 
trasts mentioned  on  pp.  37,  38. 

9.  Comparison  and  contrast  of 
^ “A  Tale  of  Two  Cities,”  as  a his- 
torical novel,  with  ‘Tvanhoe”  or 
“Henry  Esmond.”  (See  p.  34.) 

10.  Summaries  of  the  trial 
scenes. 

A TALE  OF  TWO  CITIES— SEI 

1.  — The  wine  shop  in  Saint  An- 
toine (pp.  81-85). 

2.  — “Recalled  to  life”  (pp.  95- 
107). 

3.  — The  Crunchers  (pp.  111-15). 

4.  — An  English  trial  (pp.  124-33). 

5.  — A glimpse  of  Sydney  Carton 
(pp.  149-56)'. 

6.  — Monseigneur’s  journey  (pp. 
178-82). 

7.  — The  death  of  Monseigneur 
(pp.  200-203). 

8.  — Sydney  Carton  and  Lucie  (pp. 
228-33). 


11.  Descriptions  of  important 
place  settings;  e.  g.,  Tellson’s,  Dr. 
Manette’s  home  in  Soho,  the  De- 
farge  wine  shop,  the  chateau  of 
St.  Evremonde,  etc. 

12.  A scene  in  London  or  Paris 
in  Revolutionary  days  and  now  (e. 
g..  Saint  Antoine;  better  not  chosen 
except  by  students  who  have  visit- 
ed the  places  described). 

ICTIONS  FOR  CLASS  READING. 

9.  — The  “mender  of  roads  called 
Jacques”  (pp.  251-56). 

10. -^The  destruction  of  the  Bas- 
tille (pp.  309-17). 

11.  — The  grindstone  (pp.  368-71). 

12.  — The  guillotine  (pp.  382,  383). 

13. — A French  trial  (pp.  394-98). 

14.  — Carton  on  the  night  before 
the  final  hearing  (pp.  432-36), 

15.  — Carton  and  Darnay  at  La 
Force  (pp.  479-84); 

16.  — “The  footsteps  die  out  for- 
ever” (pp.  506-13). 


THE  PRINCESS— THEME  SUBJECTS. 


(For  subjects  in  connection  with 
Tennyson’s  life,  see  “Selections 
^from  Tennyson.”) 

1.  Carlyle  and  Tennyson  (de- 
scription or  conversation,  on  the 
basis  of  Carlyle’s  comment,  quoted 
on  p.  12). 

2.  Sources  of  “The  Princess” 
(pp.  19-23). 

3.  The  plan  of  the  poem — the 
machinery  of  its  structure,  as  out- 
lined in  the  Prologue. 

4.  “The  Princess”  as  a “med- 
ley”— why  a “medley”?  (Note  the 
change  from  burlesque  to  serious.) 

5.  The  function  of  the  child  (cf. 
“Silas  Marner”). 

6.  The  “weird  seizures” — what 
they  are  and  their  significance 
when  they  occur. 


7.  The  use  of  science  in  the 
poem. 

8.  A study  of  the  Songs — their 
meaning  in  their  respective  places. 

9.  Narratives  as  follows: 

The  story  of  the  Prince  and 
the  Princess. 

The  story  of  Cyril  and 
Psyche. 

The  story  of  Florian  and  Me- 
lissa. 

The  story  of  the  two  kings. 

The  combat. 

10.  Character  sketches  of  the 
Prince,  the  Princess,  the  two 
Kings,  the  Ladies  Blanche  and 
Psyche,  Cyril,  Florian,  Arac,  and 
Melissa. 

11.  A woman’s  college  of  to-day 


t- 


34 


THEME  SUBJECTS  AND 


(showing  differences  from  that  in 
“The  Princess”). 

12.  Tennyson’s  view  of  “the 
woman  question.”  (Cf.  Ruskin’s, 
as  shown  in  “Sesame  and  Lilies.”) 

13.  Nature  pictures  in  “The 
Princess.” 


14.  The  development  of  the  feel- 
ing of  the  Princess  toward  the 
Prince. 

15.  Discuss  the  qualities  of  Ten- 
nyson’s poetry — music,  sympathy, 
etc.,  as  mentioned  on  p.  29.  Give 
examples. 


THE  PRINCESS— SELECTIONS  FOR  CLASS  READING. 


1.  — All  the  Songs. 

2.  — King  Gama  gives  little  en- 
couragement (pp.  46-47). 

3.  — Psyche’s  lecture  (pp.  55-57). 

4.  — The  plea  to  Psyche  (pp.  59- 
61). 

5 — The  Prince’s  opinion  of  the 
Princess  (pp.  71-72). 

6.  — Cyril’s  mission  (pp.  72-74). 

7.  — The  Princess  defends  her 
course  (pp.  76-78). 

8.  — The  discovery  (pp.  87-89). 

9.  — Blanche’s  speech  of  accusa- 
tion (pp.  92-95). 

10.  — The  Prince’s  defense  (pp. 
97-99). 


11.  — The  Princess  answers  him 

(pp.  101-2). 

12.  — Psyche’s  lament  (pp.  107-9). 

13.  — Council  of  war  (pp.  109-13). 

14.  — Ida’s  letter  to  her  brother 

(pp.  118-21). 

15.  — The  combat  (pp.  122-24). 

16.  — Psyche  seeks  her  child  (pp. 
129-32). 

17.  — The  Princess  weakens  (pp. 
134-37.) 

18.  — The  Prince’s  convalescence 
(pp.  140-41,  142-43). 

19.  — The  Princess  yields  (pp.  144- 
45). 

20.  — The  Prince’s  ideal  of  wom- 
anhood (pp.  148-52). 


PARADISE  LOST,  BOOKS  I 

(For  subjects  on  Milton’s  life,  see 
“Minor  Poems.”) 

1.  Milton’s  personal  characteris- 
tics (pp.  20-22). 

2.  A visit  to  Milton’s  grave. 

3.  Milton  in  his  old  age  (from 
hints  on  p.  19). 

4.  Character  sketch  of  Milton 

(pp.  16-22). 

5.  The  evolution  of  the  plan  of 
“Paradise  Lost”  (pp.  26  ff.).  (Or: 
How  Milton  composed  “Paradise 
Lost.”) 

6.  Milton’s  conception  of  t he 
universe  (pp.  40-46).  Contrast  the 
modern  scientific  conception. 

7.  How  this  universe  is  peopled 
(classes  of  inhabitants,  character- 
istics of  each  class,  etc.;  pp.  40,  41, 
etc.). 


AND  II— THEME  SUBJECTS. 

8.  The  origin  and  nature  of 
Hell  (p.  43,  and  various  parts  of 
“Paradise  Lost”). 

9.  The  revolt  of  the  anyels 
(summary  of  what  has  happened 
before  the  opening  of  the  poem). 

10.  Narrative  summary  of  the 
whole  poem  (pp.  48-54);  or  sum- 
maries of  the  following  divisions: 

The  building  of  Pandemonium 
(pp.  102-5). 

The  council  in  Pandemonium 

(pp.  106-28). 

Satan’s  journey  to  the  Earth 
(pp.  134-50). 

The  temptation  of  Adam  and 
Eve. 

The  banishment  of  Adam 
and  Eve.  . 

11.  Character  sketches  of  Satan. 

( 


4 


SELECTIONS  FOR  READING  ALOUD 


35 


Beelzebub,  Moloch,  Belial  (as  in- 
K dicated  both  by  author’s  comment 
and  by  their  speeches  and  ac- 
tions). 

12.  Descriptive  themes  on  vari- 
ous  important  scenes;  as,  for  in- 
^ stance,  the  following:  (These  may 

be  elaborated  imaginatively  from 
Milton’s  hints.) 

Satan  in  the  “fiery  gulf’’  (pp. 
85,  89,  etc.). 

The  rising  of  Satan’s  host 
(pp.  90  ff.). 

Satan  as  a military  leader 
(pp.  89,  100,  etc.). 
Pandemonium  (pp.  104  ff.). 

PARADISE  LOST,  BOOKS  I AN 
REAI 

1.  — Invocation  (pp.  77,  78). 

2.  — Satan  in  the  fiery  gulf  (pp. 
79-82,  85,  86). 

3.  — Satan’s  speech  about  Hell 

(pp.  86-88). 

4.  — Satan  rouses  his  hosts  (pp. 

• 89-91). 

i 5. — The  marshalling  of  the  fallen 
angels  (pp.  97-99). 

6. — Satan  before  his  army  (pp. 
100-102). 

^ 7. — The  building  of  Pandemonium 
(pp.  102-5). 


The  fallen  angels  in  council 
(that  is,  the  scene  in  the 
council  chamber;  pp.  111 
ff.). 

The  gates  of  Hell  (pp.  135 
ff.). 

The  pathway  to  the  Earth 
(pp.  149,  150). 

13.  Paraphrases  of  the  leading 
speeches. 

14.  The  sports  of  the  hosts  of 
Satan  (after  the  council;  pp.  130 
ff.). 

15.  The  allegory  of  Sin  and 
Death  (pp.  139  ff.). 


II— SELECTIONS  FOR  CLASS 


8.  — Satan  opens  the  council  (pp. 
Ill,  112). 

9.  — Moloch’s  speech  (pp.  112-15). 

10.  — Belial’s  speech  (pp.  115-19). 

11.  — Mammon’s  speech  (pp.  119- 

21). 

12.  — Beelzebub’s  speech  (pp.  122- 
26). 

13.  — Satan  undertakes  the  .mis- 
sion to  Earth  (pp.  126-28). 

14.  — Explorations  by  the  host  (pp. 
132-34). 

15.  — Satan’s  flight  toward  Earth 
(pp.  146,  147,  149,  150). 


POE’S  POEMS  AND  TALES— THEME  SUBJECTS. 


1.  Poe’s  life  (pp.  9-13). 

2.  Character  sketch  of  Poe. 
(This  may  be  based  largely  on,  the 
works  read;  or  sides  may  be  taken 
and  criticisms  and  defences  pre- 
pared.) 

3.  The  story  of  Israfel  (pp.  33- 
35).  (This  may  of  course  be  large- 
ly imaginary.) 

4.  A story  of  the  poet  and  “the 
^lost  Lenore.” 

5.  Discussion  Poe’s  account  « 


of  his  writing  “The  Raven”  (p. 
301). 

6.  The  story  of  Annabel  Lee 
(pp.  48-50). 

7.  The  “entire  and  terrible 
truth”  of  “The  Assignation”  (p. 
77). 

8.  The  relation  of  the  poem  (p. 
73)  to  the  story  in  which  it  is 
found. 

9.  Apply  the  preceding  to  the 
poems  on  pp.  88,  89,  and  117-19. 


T, 


36 


THEME  SUBJECTS  AND 


10.  Description  and  character 
sketch  of  Ligeia. 

11.  The  story  of  Ligeia  (pp.  78- 
103). 

12.  Character  sketch  of  Roder- 
ick Usher  (pp.  105,  110  ff.). 

13.  A description  of  the  House 
of  Usher  and  its  surroundings  (pp. 
103,  108,  etc.). 

14.  The  true  story  of  the  Lady 

Madeline.  (This  may  be  partly 
imaginary,  of  course.)  < 

15.  The  “crescendo”  structure 
of  “The  Fall  of  the  House  of 
Usher.” 

16.  A description  of  the  Mael- 
strom (pp.  135  ff.). 

17.  Discussion  of  the  question: 
“Could  the  hero  of  ‘A  Descent  into 
the  Maelstrom’  have  escaped  as 
he  says  he  did?” 

18.  Comparison  and  contrast  of 
“Eleanora”  and  “Ligeia.” 

POE’S  POEMS  AND  TALES— SE’ 

1.  — All  the  poems  in  the  volume. 

2.  — The  first  scene  in  “The  As- 
signation” (pp.  59-65). 

3.  — The  climax  of  “The  Assigna- 
tion” (pp.  74-77). 

4.  — The  hero’s  life  with  Ligeia 
(pp.  78-89). 

5.  — The  climax  of  “Ligeia”  (pp. 
97-103). 

6.  — All  of  “The  Fall  of  the  House 
of  Usher”  (pp.  103-33). 

7.  — The  description  of  the  Mael- 
strom (pp.  135-41). 


19.  The  meaning  of  “The  Oval 
Portrait.”  (See  p.  313  for  sug- 
gested comparison  with  Haw- 
thorne.) 

20.  The  historical  background 

of  “The  Pit  and  the  Pendulum.” 
(See  p.  313.)  ^ 

21.  How  the  treasure  is  found 
in  the  “The  Gold-Bug”  (pp.  243 
ff.). 

22.  Character  sketch  of  M. 
Dupin.  (Cf.  Sherlock  Holmes.) 

23.  The  advantages  and  disad- 
vantages of  first-person  narration. 

24.  Poe  “possessed  the  two  fun- 
damental attributes  of  a poet,  mel- 
ody and  imagination”  (pp.  23,  24). 
Prove  by  citations  and  discuss. 

25.  Compare  one  of  Poe’s  de- 
tective tales  with  one  from  Conan 
Doyle  or  any  others  you  have 
read. 


ECTIONS  FOR  CLASS  READING. 

8.  — In  the  Maelstrom  (pp.  150- 
60). 

9.  — “Eleanora”  (pp,  160-70). 

10.  — “The  Masque  of  the  Red 
Death”  (pp.  175-85). 

11.  — A victim  of  the  Inquisition 
gets  his  bearings  (pp,  189-95). 

12.  — The  pendulum  (pp.  198-206).' 

13.  — Finding  buried  treasure  (pp. 
231-43). 

14.  — How  Dupin  found  “The  Pur- 
loined Letter”  (pp.  291-97). 


SESAME  AND  LILJES 

1.  Ruskin’s  life  (pp.  9-25). 

2.  Ruskin’s  childhood  (especial- 
ly in  relation  to  his  later  life  and 
work;  pp.  9-15). 

3.  Ruskin’s  work  in  art  criti- 
cism (including  architecture;  pp. 
36-21). 

4.  Ruskin’s  economic  and  social 


1— THEME  SUBJECTS. 

work  (pp.  21-24,  27-29;  with  ref- 
erence also  to  the  expression  of  his 
views  in  the  book  studied). 

5.  Discussion  of  the  merits  and 
demerits  of  the  titles  of  the  sep- 
arate lectures  and  of  the  work  as 
a whole  (pp.  47,  107,  etc.). 

6.  Brief  outlines  or  condensed 


37 


SELECTIONS  FOR 

f 

summaries  of  the  two  lectures 
(amplifying  the  editor’s  hints  on 
pp.  30,  31).  ^ 

7.  Minute  discussion  of  a short 
passage  from  some  poem  studied 

^ in  the  course  (similar  to  Ruskin’s 
discussion,  pp.  60  ff.). 

8.  What  Ruskin  thinks  of  novels 
and  novel-reading  (pp.  49,  129  fC.). 

9.  Does  America  today  despise 
literature,  science,  art,  nature, 
compassion  (pp.  77-91)?  Discuss, 
relative  to  your  own  city,  any  or 
all  of  Ruskin’s  charges. 

10.  Amusements  of  which  Rus- 
kin disapproves  (pp.  91,  etc.).  (A 
defense,  or  a criticism,  of  his  at- 
titude toward  some  specific  amuse- 

SESAME  AND  LILIES— SELE 

1.  — The  choice  of  friends  (pp.  46- 
48). 

2.  — What  is  a “true  book”  (pp. 
49-52). 

3. — Intensive  reading  (pp.  55-57). 

4.  — Passion,  or  “sensation”  (pp. 

I 71-73). 

5.  — Characteristics  of  a “gentle 
nation”  (pp.  77-84). 

6.  — Treatment  of  the  poor  (pp. 
88-91). 

^ 7. — The  public  craving  for  amuse- 
ment (pp.  91-94). 

8.  — True  greatness  in  life  (pp. 
94-99). 

9.  — The  purpose  of  the  lecture 
“Of  Queens’  Gardens”  (pp.  106-8). 

10.  — Shakspere’s  women  (pp.  108- 

11). 


READING  ALOUD 

ment  might  be  attempted.) 

11.  Themes  developing  and  ex- 
plaining, or  criticising  (cf.  p.  157) 
Ruskin’s  comments  on  some  of  the 
characters  from  Shakspere  and 
Scott;  e.  g.,  Orlando,  Rosalind, 
Ophelia. 

12.  How  girls  should  be  edu- 
cated, according  to  Ruskin  (pp. 
122  it.).  Compare  your  own  edu- 
cation. 

13.  Comparison  of  Ruskin’s  view 
of  the  true  position  of  woman  in 
society  with  the  view  of  Tennyson 
as  expressed  in  “The  Princess” 
(pp.  119-22,  137  ff.). 

14.  The  objects  of  satire  in  these 
lectures. 

nONS  FOR  CLASS  READING. 

11.  — Scott’s  women  (pp.  111-13). 

12.  — Other  great  women  in  liter- 
ature (pp.  113-16). 

13.  — Chivalry  toward  women  (pp. 
117-18). 

14.  — Differences  between  men 

and  women  (pp.  120-22). 

15.  — The  first  duty  in  the  educa- 
tion of  women  (pp.  122-26). 

16.  — Differences  between  educa- 
tion for  girls  and  for  boys  (pp. 
127-33). 

17.  — The  help  of  nature  in  educa- 
tion (pp.  133-35). 

18.  — Woman’s  duty  in  the  state 
(pp.  137-38). 

19.  — Woman’s  influence  (pp.  140- 
46). 


MACBETH— THEME  SUBJECTS. 


(See  subjects  for  plays  from 
Shakspere  previously  treated.) 

1.  “Macbeth”  and  its  source 
(pp.  20-30;  see  also  questions  in 

♦ “Manual,”  p.  77). 

2.  The  Weird  Sisters  (pp.  34- 


36,  and  of  course  the  scenes  in 
which  they  appear). 

3.  The  dramatic  structure  of 
this  play  (pp.  38,  39). 

4.  The  changes  in  Macbeth’s 
character. 


38 


THEME  SUBJECTS  AND 


5.  Lady  Macbeth’s  estimate  of 
Macbeth’s  character  (pp.  60,  61). 
Is  it  justified  by  his  action? 

6.  Character  sketch  of  Lady 
Macbeth  (see  questions  on  p.  79 
of  the  “Manual”). 

7.  A defence  of  Lady  Macbeth. 

8.  The  genesis  of  the  plan  to 
make  Macbeth  king.  (Does  the 
prophecy  of  the  Weird  Sisters  sug- 
gest the  plan,  or  has  Macbeth  al- 
ready been  considering  it?  Is  he 
or  Lady  Macbeth  the  more  active 
in  the  matter?) 

9.  The  story  of  Macbeth  (a 
brief  and  clear  summary  of  the 
events  of  the  play). 

10.  The  stories  of  Banquo  and 
of  Macduff. 

11.  The  night  of  Duncan’s  mur- 
der (the  unnatural  events  that 
happened;  pp.  80,  85,  86). 

12.  Who  was  the  third  murderer 
(pp.  97-99)? 

MACBETH— SELECTIOl 

1.  — The  “weird  sisters”  (pp.  49- 
56). 

2.  — Lady  Macbeth’s  ambition  is 
stirred  (pp.  60-63). 

3.  — Macbeth’s  hesitation  is  over- 
come (pp.  66-70). 

4.  — Macbeth  and  the  phantom 
dagger  (pp.  73,  74). 

5.  — After  the  murder  (pp.  74- 
78). 

6.  — The  murder  is  discovered  (pp. 
78-85). 


13.  The  staging  of  Act  lit. 
Scene  iv.  (Should  a ghost  actually  7 
appear?) 

14.  The  apparitions  and  proph- 

ecies of  Act  IV,  Scene  i — what 
they  mean,  precisely,  and  how  they 
are  fulfilled.  ^ 

15.  Character  sketches  of  Ban- 
quo  and  Macduff. 

16.  The  moral  significance  of 
the  play  (pp.  35,  36). 

17.  Paraphrases  of  important 
portions;  e.  g.,  pp,  66  ff.,  73,  74, 
etc. 

18.  The  time  scheme  of  the  play. 
(See  suggestions  on  p.  78  of  the 
“Manual.”) 

19.  The  figurative  language  of 
the  play.  (See  “Manual,”  p.  80.) 

20.  Write  an  account  of  the 
finding  of  Duncan’s  body,  in  mod- 
ern newspaper  style  (with  mention 
of  clues,  etc.). 


FOR  CLASS  READING. 

7.  — The  murder  of  Banquo  is 
planned  (pp.  90-97). 

8.  — The  banquet  scene  (pp.  99- 
106). 

9.  — Macbeth  and  the  witches 
(pp.  111-17). 

10.  — The  sleep  walking  scene^ 
(pp.  135-38). 

11.  — Macbeth  before  the  battle 
(pp.  140-43,  144-47). 

12. — The  battle  (pp.  148-53). 


BURKE  ON  CONCILIATION— THEME  SUBJECTS. 


1.  Burke’s  life  (pp.  11-19). 

2.  Burke’s  literary  friends  (p. 

13;  cf.  Boswell’s  “Life  of  Johnson,” 
Irving’s  “Oliver  Goldsmith,”  etc.). 

3.  Burke’s  work  in  behalf  of 

the  American  colonies  (pp.  13-15). 

4.  Burke  and  Indian  affairs  (pp. 

17,  18;  cf.  Macaulay’s  “Warren 


Hastings”) 

5.  Burke  and  the  French  Rev^o- 
lution  (pp.  18,  19). 

6.  Summary  of  the  historical 
events  leading  up  to  . the  “Speech 
on  Conciliation.” 

7.  Explanation  of  the  measures^ 
Burke  wished  repealed. 


SELECTIONS  FOR  READING  ALOUD 


39 


8.  Arguments  on  the  measures, 
separately. 

9.  The  growth  of  the  American 
colonies  (pp.  34-42).  (Contrast  the 
America  Burke  thought  so  won- 
derful with  America  today.) 

f 10.  The  causes  of  the  Ameri- 
can love  of  freedom  (pp.  47  ff.). 
Can  additions  be  made  to  Burke’s 
list?). 

11.  Historical  precedents  i n 
favor  of  conciliation  (pp.  79  ff.). 

12.  Parallels  between  the  case 
of  Wales  and  that  of  America  (pp. 
81  ff.). 

13.  Completion  in  detail  of  the 
brief  commenced  on  p.  133.  (Or 
smaller  briefs  of  different  parts  of 
the  speech  may  be  made,  and  sum- 
maries or  synopses  in  the  stu- 
dent’s own  words  required.) 

BURKE  ON  CONCILIATION— SU< 

1.  — Burke’s  reasons  for  speaking 
(pp.  25-30). 

2.  — The  growth  of  America  (pp. 
39-41,  43-44). 

\ 3. — The  American  love  of  freedom 
(pp.  47-55). 

4. — Possible  ways  of  dealing  with 
the  colonies  (pp.  60-67). 

^ 5. — Burke’s  general  proposition 


14.  Characteristics  of  Burke’s 
choice  of  words  (pp.  127,  128). 

15.  Sarcasm  in  this  speech.  (Is 
it  effective?  Cite  examples.) 

16.  Burke’s  principles  of  govern- 
ment (pp.  31,  45  ff.,  129  ff.,  etc.). 

17.  Burke’s  character  as  indi- 
cated by  this  speech. 

18.  The  paragraph  structure  of 
this  speech. 

19.  How  the  speech  was  re- 
ceived and  what  it  accomplished. 
(Would  a similar  speech  be  effec- 
tive if  delivered  in  our  United 
States  House  of  Representatives, 
in  the  face  of  a hostile  majority?) 

20.  Can  the  “anti-imperialists” 
in  the  United  States  quote  any  of 
Burke’s  speech  as  applicable  to 
our  government  in  the  Philippines? 


ESTIONS  FOR  CLASS  READING, 
(pp.  70-73). 

6.  — Precedents  for  conciliation 
(pp.  79-84). 

7.  — The  first  two  resolutions  (pp. 
90-93). 

8.  — Objections  to  Lord  North’s 
plan  (pp.  109-15). 

9.  — Conclusion  (pp.  118-22). 


MACAULAY’S  ESSAYS  ON  MILTON  AND  ADDISON,  AND  ON  ADDISON 
AxND  JOHNSON— THEME  SUBJECTS. 


1.  Macaulay’s  career  (pp.  15-20). 

2.  Personal  merits  and  defects 
of  Macaulay  (pp.  24-42).  (Themes 
illustrating  separately  the  different 
characteristics  developed  in  the 
pages  just  referred  to  may  be  as- 
signed.) 

3.  A study  of  Macaulay’s  sen- 
tences; of  his  paragraphs;  of  his 

hoice  of  words;  of  his  organization 
f the  whole  composition. 


4.  The  “Essay  on  Milton,”  or 
the  “Essay  on  Addison,”  as  a re- 
view. 

5.  Discussion  of  Macaulay’s 
view  of  the  effect  of  civilization  on 
poetry  (pp.  50  ff.). 

6.  Macaulay’s  estimate  of  Mil- 
ton’s “Minor  Poems”  (pp.  61-66). 

7.  An  answer  to  Macaulay’s 
argument  in  favor  of  Milton’s 
“public  conduct”  (pp.  85  ff.). 


T, 


40 


THEME  SUBJECTS  AND 


8.  Character  sketch  of  Milton. 

9.  The  nature  of  the  Puritans 
(pp.  108-14). 

10.  Summaries  of  the  main 
divisions  of  the  “Essay  on  Addison” 
(“Manual,”  p.  63). 

11.  A sketch  of  Addison’s  life 
(picked  out  carefully  from  the 
“Essay”). 

12.  Addison  as  a poet  and  drama- 
tist (“Addison  and  Johnson,”  pp. 
59,  87-92,  94,  130  ff.). 

13.  Addison’s  political  career. 

14.  Addison’s  relations  to  Steele. 
(A  defense  of  Steele  may  be  at- 
tempted.) 

15.  Addison  and  Pope  (pp.  135, 
146  ff.). 

16.  Character  sketch  of  Addison. 

17.  Differences  in  method  and 
style,  between  the  “Essay  on  Mil- 

MACAULAY  ON  MILTON  AND  ADDI 
SON— SELECTIONS  F 

1.  — Poetry  and  civilization  (pp. 
50-56). 

2.  — Milton’s  work  in  dramatic 
form  (pp.  61-66). 

3.  — Milton  and  Dante  (pp.  67-71, 
76-81). 

4.  — Macaulay  on  the  defense  of 
Charles  I (pp.  92-95). 

5.  — The  Puritans  (pp.  108-14). 

6.  — Milton’s  character  (pp.  116- 
24). 

7.  — Introductory  estimate  of  Ad- 
dison (pp.  127-29;  or  47-49  in  “Ad- 
dison and  Johnson”). 

8.  — Addison’s  “Campaign”  (pp. 
167-72;  or  87-92). 

9.  — Characteristics  of  Addison 
(pp.  179-83;  or  99-103). 

10.  — Addison  and  Steele  (pp.  184- 
86;  or  104-6). 

11.  — Addison’s  wit  and  humor 
(pp.  192-96;  or  112-16). 

12.  — The  “Spectator”  (pp.  204-9; 
or  124-29). 

13.  — Addison  and  Pope  (pp.  226- 


ton”  and  the  “Essay  on  Addison” 
(or  “Johnson”). 

18.  A summary  of  Johnson’s  life. 

19.  Character  sketch  of  Johnson. 

20.  Johnson’s  early  struggles  in 
London  (pp.  179  ff.). 

21.  The  history  of  Johnson’s « 
“Dictionary”  (his  relations  with 
Chesterfield,  etc.;  pp.  189,  197,  etc.). 

22.  Johnson  and  Boswell  (pp.  210 
ff.). 

23.  Johnson’s  literary  work  (by 
classes,  with  brief  estimates). 

24.  Macaulay’s  influence  on  mod- 
ern style  (pp.  40,  41)  with  examples 
taken  from  magazine  or  newspaper 
articles. 

(See  also  subjects  on  Addison  in 
connection  with  the  “De  Coverley 
Papers,”  and  on  Johnson  in  con- 
nection with  Goldsmith.) 

ON,  AND  ON  ADDISON  AND  JOHN- 
>R  CLASS  READING. 

36;  or  146-56). 

14.  — Addison’s  death,  and  a con- 
cluding estimate  (pp.  246-49;  or 
166-69). 

15.  — Johnson’s  birth  and  boyhood 
(pp.  170-72). 

16.  — Johnson  when  he  left  Oxford 
(pp.  175,  176). 

17.  — The  profession  of  literature 
in  Johnson’s  time  (pp.  179,  180). 

18.  — Johnson’s  “Dictionary”  (pp. 
189,  190,  196-98). 

19.  — Johnson  and  Garrick  (pp. 
191-93). 

20.  — “The  Rambler”  (pp.  194-96). 

21.  — “Rasselas”  (pp.  200-202). 

22.  — Johnson  as  a talker,  and  his 
Club  (pp.  208-10). 

23.  — Johnson  and  Boswell  (pp. 
210-12). 

24.  — Johnson  and  the  Thrales  (pp. 
212-14). 

25.  — The  “Lives  of  the  Poets” 
(pp.  222-24). 

26.  — Johnson’s  death  (pp.  225-29). 


SELECTIONS  FOR  READING  ALOUD 


41 


HENRY  ESMOND— 

1.  The  life  of  Thackeray  (pp.  1- 
10). 

2.  An  imaginary  conversation 
between  Thackeray  and  Goethe 
(cf.  p.  4). 

3.  Thackeray  as  a journalist  (pp. 
5-9). 

4.  Thackeray  in  the  United 
States  (pp.  7,  8;  compare  or  con- 
trast the  visits  of  Dickens). 

5.  Character  sketch  of  Thackeray 

(pp.  10-12).  In  criticism  or  de- 

fense of  him  on  the  charge  of 
cynicism  or  snobbery,  give  exam- 
ples from  his  work  to  prove  your 
contention. 

6.  Thackeray’s  works  (classes, 
characteristics,  etc.;  pp.  12  ff.). 

7.  Discussion,  “pro”  or  “con,” 

of  the  editor’s  estimate  of  Thack- 
eray (p.  18),  or  of  “Henry  Es- 
mond” among  Thackeray’s  works 
(p.  20). 

8.  Comparison  of  “Henry  Es- 

mond” as  a historical  romance  with 
one  of  Scott’s  romances  (e.  g., 

“Ivanhoe”;  or,  better,  one  of 

Scott’s  novels  of  the  eighteenth 
century);  or  with  a historical  ro- 
mance of  the  present  day. 

9.  Descriptions  of  the  scenes 
mentioned  on  pp.  21,  22  (and  others 
that  are  of  similar  vividness). 

10.  The  effect  of  first-person 
narration  on  Thackeray’s  style. 

HENRY  ESMOND— SELECT 

1.  — Henry  Esmond  finds  friends 
(pp.  41-46). 

2.  — The  old  Viscountess  Castle- 
wood  (pp.  61-63). 

3.  — The  anti-Popish  mob  (pp.  TI- 
TS). 

4.  — Henry  Esmond  makes  the 
acquaintance  of  Steele  (pp.  92-9T). 

5.  — Lady  Castlewood  (pp.  104-6). 

6.  — Frightened  by  small  pox  (pp. 
116-21). 


THEME  SUBJECTS. 

11.  The  historical  background  of 
“Henry  Esmond”  (a  rapid  sum- 
mary of  the  chief  historical  events 
of  the  period  dealt  with,  so  far  as 
they  bear  any  relation  • to  this 
story). 

12.  Character  sketches  of  Henry 
Esmond,  Lady  Castlewood,  Beatrix, 
Frank. 

13.  Narrative  themes  on  the  fol- 
lowing divisions  of  the  story: 

The  first  twelve  years  of 
Henry  Esmond’s  life  (pp. 
56  ff.). 

Lord  Mohun’s  part  in  the 
story  (pp.  165  ff.). 

Henry  Esmond’s  career  in 
the  army  (pp.  234  ff.). 

The  love  affairs  of  Beatrix 
(pp.  274  ff.). 

The  plot  on  behalf  of  the 
Pretender  (pp.  478  ff.). 

Esmond’s  later  life. 

14.  Flashlights  of  Steele  (pp.  93, 
218,  etc.);  of  Addison  (pp.  306  ff.); 
and  of  Swift  (pp.  442  ff.),  as  they 
appear  in  “Henry  Esmond.” 

15.  Discussions:  Is  Henry  Es- 

mond a prig?  Is  Lady  Castlewood 
inconsistent  in  her  attitude  toward 
Henry? 

16.  Do  Thackeray’s  “Sympathy 

and  Enthusiasm”  (p.  10)  show 

prominently  in  this  novel?  (If  so, 
prove  by  examples.) 

NS  FOR  CLASS  READING. 

7.  — Henry  is  sent  to  college  (pp. 
138-42). 

8. — Vacation  (pp.  151-53). 

9.  — An  attempt  at  mediation  (pp. 
166-70). 

10.  — Beatrix  at  thirteen  (pp.  172- 
74). 

11.  — Henry’s  adventure  with  Lord 
Mohun  (pp.  184-89). 

12.  — A crisis  with  Lord  Mohun 
(pp.  195-206;  or  200-206). 


42 


THEME  SUBJECTS  AND 


13.  — Lady  Castlewood  sees  Es- 
mond in  prison  (pp.  208-11). 

14.  — Steele’s  mission  to  Lady 
Castlewood  (pp.  222-25). 

15.  — Reconciliation  (pp.  258-65). 

16.  — Beatrix  again  (pp.  266-72). 

17.  — Marlborough  (pp.  288-90,  317, 
318). 

18.  — “An  old  story  about  a fool 
and  a woman”  (pp,  302-4,  359-62). 

19.  — Esmond  meets  Addison  (pp. 
306-14). 

20. —  Esmond’s  mother  (pp.330-36). 

21.  — Lady  Castlewood  learns  of 


Esmond’s  sacrifice  (pp.  390-95). 

22.  — Esmond’s  “Spectator”  paper 
(pp.  408-13).  , 

23.  — Beatrix  and  Esmond  (pp 
420-24,  428-35). 

24.  — “Poor  Beatrix”  (pp.  453-56). 

25.  — Beatrix  says  farewell  to  Es- 
mond (pp.  466-69). 

26.  — Beatrix  is  sent  to  Castlewood 
(pp.  505-11). 

27.  — The  Prince  at  Castlewood 
(pp.  532-39) 

28.  — Esmond’s  later  years  (pp.  31- 
34). 


TWICE-TOLD  'TALES— THEME  SUBJECTS. 


(For  subjects  on  Hawthorne’  life, 
etc.,  see  “The  House  of  the  Seven 
Gables,”  above.  See  also  “Manual,” 
p.  93.) 

1.  Autobiographical  hints  in 
“Twice-Told  Tales”  (p.  25). 

2.  New  England  history  as  re- 
flected in  this  volume  (pp,  35,  83, 
97,  etc.). 

3.  The  historical  basis  of  “The 
Gray  Champion”  (pp.  35-37). 

4.  An  account  of  some  strange 
wedding,  or  other  ceremonial 
known  to  or  imagined  by  the  stu- 
dent. (Cf.  pp.  55-65.) 

5.  “The  Minister’s  Black  Veil” 
as  “a  parable”  (or  allegory;  its 
meaning). 

6.  Festivities  of  May-Day  (pp. 
83  ff.).  (How  far  preserved  today; 
comparison  with  old  English  ob- 
servances.) 

7.  A defense  of  the  revellers  of 
Merry  Mount. 

8.  Puritan  persecutions  of  the 
Quakers  (pp.  97  ff.). 

9.  A different  ending  for  “The 
Gentle  Boy.” 

10.  The  story  of  the  murder  of 
Mr.  Higginbotham  (from  the  point 
of  view  of  the  intended  murder- 
ers). 


11.  A runaway  child  in — (the 
student’s  own  town;  cf.  pp.  152-61). 

12.  Another  version  of  the  story 
of  Wakefield  (pp.  162-73). 

13.  The  Indian  legend  of  the 
Great  Carbuncle  (as  gleaned  from 
Hawthorne’s  story — pp.  182  ff. — and 
any  other  available  sources). 

14.  Explanation  of  the  meaning 
of  “The  Prophetic  Pictures”  (pp. 
200-217). 

15.  Development  of  one  of  the 
possibilities  suggested  by  Haw- 
thorne for  David  Swan  (or  addi- 
tional things  that  might  have  hap- 
pened to  David  during  his  sleep). 

16.  The  story  of  the  lady  in 
“The  Hollow  of  the  Three  Hills” 
(pp.  234-40). 

17.  Comparison  of  “Lady  Elea- 
nore’s  Mantle”  and  Poe’s  “Masque 
of  the  Red  Death.” 

18.  Preparation  for  the  catas- 
trophe in  “The  Ambitious  Guest” 
(pp.  366-76). 

19.  Peter  Goldthwaite  and  Wol- 
fert  Webber. 

20.  A morning  on  the  beach  (cf. 
pp.  507  ff.) 

21.  Hawthorne’s  special  theme 
is  “the  soul  in  contact  with  sin” 
(p.  9).  Give  examples  and  discuss. 


SELECTIONS  FOR  READING  ALOUD 


43 


TWICE-TOLD  TALES— SELECTIONS  FOR  CLASS  READING. 


I.  — “The  Gray  Champion”  (pp. 

I 36-46). 

' 2. — “The  Minister’s  Black  Veil” 

I (pp.  74-82). 

! 3. — “The  May-Pole  of  Merry 

i^ount”  (pp.  83-89). 

4. — The  interrupted  meeting  (pp. 
I 109-15). 

; 5. — Ilbrahim  and  the  children  (pp. 

j 120-25). 

I 6. — llbrahim’s  mother  reappears 
I (pp.  131-35). 

' 7. — “Little  Annie’s  Ramble”  (pp. 

I 152-61). 

1 8.— “Wakefield”  (pp.  162-73). 

j 9. — “A  Rill  from  the  Town  Pump” 
j (pp.  174-81). 

' 10. — The  searchers  for  the  Great 

' Carbuncle  (pp.  183-86). 

II.  — How  Matthew  and  Hannah 
i found  the  Carbuncle  (pp.  191-95). 


12.  — “David  Swan”  (pp.  218-25). 

13.  — “The  Hollow  of  the  Three 
Hills”  (pp.  234-40). 

14.  — “The  Vision  of  the  Foun- 
tain” (pp.  249-55). 

15.  — “Dr.  Heidegger’s  Experi- 
ment” (pp.  268-76). 

16.  — “Howe’s  Masquerade”  (pp. 
285-93). 

17.  — “Lady  Eleanore’s  Mantle” 
(pp.  317-18,  321-28). 

18.  — “The  Ambitious  Guest”  (pp. 
367-76). 

19.  — “The  Sister-Years”  (pp.  377- 
85). 

20. — “The  White  Old  Maid”  (pp. 
419-27). 

21.  — “The  Shaker  Bridal”  (pp. 
469-76). 

22.  — “The  Lily’s  Quest”  (pp.  495- 
504). 


HAMLET— THEME  SUBJECTS. 


(For  subjects  on  Shakspere’s  ca- 
I reer,  see  previously  treated  plays.) 
j ?1.  Hamlet  and  its  source  (pp. 
; 38-42). 

I 2.  A different  ending  for  the 
! play. 

I ^3.  Summary  of  the  events  that 
I have  preceded  and  lead  up  to  this 
[ play. 

I 4.  The  Ghost  of  Hamlet’s  father 
(its  appearances,  infiuences,  etc,; 
pp.  53,  57,  79,  etc.). 

5.  The  true  story  of  Hamlet  and 
Ophelia  (as  the  student  conceives 
it,  of  course;  it  need  hardly  be  said 
that  a number  of  problematic  mat- 
ters are  involved), 

6.  Paraphrases  of  one  or  more 
of  the  great  soliloquies  (pp.  64  ff., 
124  ff.,  etc.). 

7.  Discussion  of  Hamlet’s  alleged 
insanity. 

8.  Hamlet  and  his  mother  (es- 
I'^cially  pp.  151-60). 


9.  The  function  of  Horatio  in 
the  play,  and  his  character. 

10.  Why  did  Hamlet  hesitate  to 
kill  the  King? 

11.  Character  sketches  of  Polo- 
nius,  the  King,  Laertes,  Ophelia, 
the  Queen,  Osric. 

12.  The  staging  of  the  play 
within  the  play  (a  detailed  state- 
ment of  how  this  may  have  been 
handled  to  be  effective;  pp.  136  ff.). 

13.  Characteristics  of  Elizabethan 
acting  (as  indicated  in  the  scenes 
with  the  players;  pp.  112-18,  130- 
32,  etc.). 

14.  The  historical  background  of 
“Hamlet”  (the  relations  with  Nor- 
way). 

15.  Hamlet’s  trip  to  England  (a 
narrative  of  just  what  happens; 
pp.  181-82,  205  ff.). 

16.  Ophelia’s  madness  (how 
caused,  what  its  symptoms,  the  re- 
sult, etc.). 


f 


44 


THEME  SUBJECTS  AND 


17.  The  King’s  plot  with  Laertes 
(pp.  185  ft.),  and  how  it  works  out. 

18.  “Hamlet”  and  the  earlier 
“tragedy  of  blood”  (pp.  40-42). 

19.  The  scene  with  the  grave- 
diggers (purpose,  effectiveness,  etc.; 
pp.  192  ff.). 

20.  Impressions  of  some  great 
actor  in  “Hamlet.” 

HAMLET— SELECTIONS 

1.  — The  first  appearances  of  the 
Ghost  (pp.  52-54,  56-59). 

2.  — Hamlet  is  reproved  for  his 
melancholy  (pp.  62-64). 

3.  — Hamlet’s  first  soliloquy  (pp. 
64-66). 

4.  — Hamlet  hears  of  the  Ghost 
(pp  67-70). 

5.  — Polonius  and  his  children  (pp. 
71-76). 

6.  — Hamlet  and  the  Ghost  (pp. 
79-86,  88-90). 

7.  — Ophelia  and  Hamlet  (pp.  94- 
96,  100-104). 

8.  — Polonius  and  Hamlet  (pp.  104- 

6). 

9.  — Hamlet  on  the  race  of  man 
(p.  109). 

10.  — Hamlet  and  the  actors  (pp. 
112-18). 

11.  — “To  be  or  not  to  be”  (pp. 
124-26). 


21.  Condensation  of  “Hamlet” 
for  the  stage  (indication  of  the 
most  important  parts  that  must  be 
left  in,  and  of  less  important  parts 
that  can  be  omitted). 

22.  Three  much-quoted  passages 
and  reasons  for  their  popularity. 

23.  Is  there  a “moral”  in  the 
play?  Discuss. 

FOR  CLASS  READING. 

12.  — Hamlet  and  Ophelia  (pp.  126- 
29). 

13.  — Hamlet’s  advice  to  the  play- 
ers (pp.  130-32). 

14.  — Hamlet  on  his  plan  to  “catch 
'the  King”  (pp.  133-34). 

15.  — The  conclusion  of  the  play 
within  the  play  (pp.  139-42). 

16.  — The  King  in  his  closet  (pp. 
148-50). 

17.  — Hamlet  and  his  mother  (pp. 
151-60). 

18.  — Ophelia  insane  (pp.  172-75, 
178-79). 

19.  — Ophelia’s  death  (pp.  190-91). 

20.  — Hamlet  and  the  grave- 
diggers (pp.  192-200). 

21.  — The  burial  of  Ophelia  (pt 
202-4). 

22.  — Hamlet  and  Osric  (pp.  209- 

12). 

23.  — The  duel  scene  (pp.  214-21J 


THE  GOLDEN  TREASURY— THEME  SUBJECTS. 


(No  subjects  suggested  on  Mil- 
ton’s, “Minor  Poems”;  see  pp.  29, 
30  above.) 

1.  The  pastoral  life  as  conceived 
by  the  Elizabethans  (pp.  55,  82, 
etc.). 

2.  Nature  pictures  in  Spenser’s 
“Prothalamion”  (pp.  95  ff.) 

3.  A connected  summary  of  Mil- 
ton’s “Nativity  Ode”  (pp.  106  ff  ). 

4.  Maying  in  Herrick’s  time  and 
now  (pp.  143-45). 


5.  The  power  of  music  (as  illus- 
trated in  Dryden’s  poem,  pp.  179- 
82). 

6.  The  story  of  Gray’s  Bard  (pp. 
190-94;  supply  imaginatively  any 
deficiencies). 

7.  Your  favorite  song  of  Burns. 

8.  The  story  of  “Lucy”  (an  im- 
aginary one  suggested  by  Words- 
worth’s poems;  pp.  258-60). 

9.  The  story  of  Lord  Ullin’s 

daughter  (pp.  261-63).  ^ 


SELECTIONS  FOR  READING  ALOUD 


45 


10.  At  the  court  of  “La  Belle 
IDame  sans  Merci"  (pp.  274,  275). 

11.  An  account  of  the  Battle  of 
-the  Baltic  (pp.  287-88). 

12.  Comparison  of  Wordsworth’s 
^id  Shelley’s  “Skylark”  poems  (pp. 
323-26). 

13.  A story  suggested  by  “Kubla 
Khan”  (a  continuation  of  Cole- 
ridge’s poem;  pp.  358,  359). 


14.  The  story  of  Ruth  (pp.  363- 
69). 

15.  A description  of  the  Grecian 
urn  that  Keats  saw  (suggested  by 
pp.  381,  382). 

16.  Your  favorite  poem  and  why 
you  like  it  best. 

17.  Your  favorite  poet  and  why 
• you  like  him  best. 


THE  GOLDEN  TREASURY— SELECTIONS  FOR  CLASS  READING. 


1.  — “The  Passionate  Shepherd  to 
his  Love”  (p.  55), 

2.  — “On  the  Tombs  in  Westmin- 
ster Abbey”  (pp.  123-24). 

3.  — “On  *His  Blindness”  (p.  126). 

4.  — “Hymn  to  Diana”  (p.  131). 

5.  — “To  Diamene”  (p.  140). 

6.  — “The  Manly  Heart”  (pp.  152- 
53). 

7. — “To  Daffodils”  (p.  161). 

8. — “A  Vision”  (p.  179). 

9.  — “Alexander’s  Feast”  (pp.  179- 
82). 

10. — “Solitude”  (p.  186). 

11.  — Ode — “How  sleep  the  Brave” 
(t).  194). 

12.  — “Bonnie  Doon”  (p.  207). 

13.  — “To  a Mouse”  (pp.  218-19). 

14.  — “Ode  to  Evening” (pp.  220-21). 
^15. — “Elegy  Written  in  a Country 
<^urchyard”  (pp.  222-25). 

16. — “She  walks  in  beauty”  (p. 
256). 


17.  — “She  dwelt  among  the  un 
trodden  ways”  (p.  258). 

18. — “To  the  Night”  (pp.  269-70). 

19.  — “La  Belle  Dame  sans  Merci” 
(pp.  274-75). 

20.  — “Milton!  thou  shouldst  be 
living  at  this  hour”  (pp.  292-93). 

21.  — “Past  and  Present”  (pp. 
304-5). 

22. — “The  Death  Bed”  (p.  315). 

23.  — “To  the  Skylark”  and  “To  a 
Skylark”  (pp.  323-26). 

24.  — “Ode  to  a Nightingale”  (pp. 
329-31). 

25.  — “The  Reaper”  (pp.  337-38). 

26. — “The  Daffodils”  (p.  341). 

27.  — “Ode  to  Autumn”  (p  343). 

28. — “Kubla  Khan”  (pp.  358-59). 

29.  — “Ode  to  the  West  Wind’’ 
(pp.  375-76). 

30.  — “Ode  on  Intimations  of  Im- 
mortality” (pp.  391-96). 


CARLYLE’S  ESSAY  ON  BURNS— THEME  SUBJECTS. 


1.  The  life  of  Carlyle  (pp  11-22). 

2.  The  life  of  Burns  (pp.  23-30). 

3.  A parallel  (and  contrast)  be- 
tween the  ancestry  and  early  en- 
vironment of  Burns  and  Carlyle  (p. 
29). 

4.  The  “Essay  on  Burns”  as  a 
book'  review.  (Cf.  similar  subjects 
for  Macaulay.) 

#5.  What  a biography  should  be 
pp.  47,  48). 


6.  The  qualities  of  a true  poet, 
according  to  Carlyle  (pp.  63,  64, 
etc.). 

7.  The  chief  merits  of  Burns’s 
poetry,  with  illustrations  not  given 
by  Carlyle  (pp.  56  ff.). 

8.  Paraphrase  of  “Tam  O’Shan- 
ter”  (or  other  poems  mentioned  by 
Carlyle). 

9.  Burns’s  songs  (pp.  82-85). 

10.  Burns’s  place  in  Scottish 
literature  (pp.  85-89). 


46 


THEME  SUBJECTS  AND 


11.  Burns  in  Edinburgh  (pp.  98- 
105). 

12.  An  imaginary  conversation 
between  Burns  and  Scott  (for  ex- 
ample, about  one  of  Burns’s  poems, 
or  about  Scott’s  poetical  ambi- 
tions). 

13.  Why  Burns’s  life  was  a fail- 
ure. (Compare  Poe.) 

14.  Burns  and  Byron  (pp.  125- 
28). 

15.  Carlyle’s  use  of  figures  in 
this  essay;  or  his  choice  of  words; 
or  his  sentence  structure. 

CARLYLE’S  ESSAY  ON  BURNS— J 

1.  — Burns  as  a “prodigy”  (pp.  48- 
55). 

2.  — Burns’s  sincerity  (pp.  56-60). 

3.  — Burns’s  choice  of  subjects 
(pp.  61-66). 

4.  — “Tam  O’Shanter”  and  “The 
Jolly  Beggars”  (pp.  79-82). 

5. — Burns’s  songs  (pp.  82-85). 

6_The  interest  of  Burns’s  life 

(pp.  89-92). 

7.  — Burns  at  Irvine  (pp.  93-98). 

8. —The  crisis  of  Burns’s  life  (pp. 


16.  Character  sketch  of  Carlyle 
(especially  as  indicated  in  thi^l 
Essay). 

17.  Character  sketch  of  Burns' 
(with  any  modification  of  Carlyle’s 
view  that  further  reading 
Burns’s  works  and  works  about 
him  seems  to  make  necessary). 

18.  Carlyle’s  “peculiar”  words 
(p.  32)  with  illustrations. 

19.  Discuss  p.  33:  “It  is  by  no 

means  easy  to  follow  [Carlyle’s] 
thought.”  (Prove  by  examples.) 


.ECTIONS  FOR  CLASS  READING. 
111-14). 

9.  — Might  Burns  have  been  saved 
(pp.  114-18)? 

10.  — Why  Burns  failed  (pp.  118- 
25). 

11.  — Byron  and  Burns  (pp.  125- 
28). 

12.  — Concluding  estimate  (pp. 

128-30). 

(Various  poems  of  Burns  should 
be  read  also,  especially  those  men- 
tioned by  Carlyle.) 


SELECTIONS  FROM  CHAUCER— THEME  SUBJECTS. 


1.  English  history  in  Chaucer’s 
time  (pp.  9-11). 

2.  The  social  conditions  of 
Chaucer’s  time  (pp.  12-15). 

3.  Chaucer’s  business  career. 

4.  Chaucer’s  learning,  particu- 
larly as  indicated  in  the  selections 
in  this  volume  (pp.  22-24). 

5.  Chaucer’s  literary  career  (pp. 
22-32). 

6.  The  plan  of  the  “Canterbury 
Tales”  (with  relation  to  other 
works  of  similar  plan;  pp.  33-35). 

7.  The  pilgrimage  to  Canterbury 
(a  summary  of  the  external  facts— 
route,  time  spent,  happenings  en 
route;  without  regard  to  the  tales 
told;  pp.  37-40,  etc.). 


8.  From  London  to  Canterbury 
today. 

9.  Descriptions  and  character 

sketches  of  the  Host  and  the  chief 
Pilgrims;  especially,  for  example, 
the  following:  the  Knight,  the 

Squire,  the  Prioress,  the  Monk,  the 
Friar,  the  Clerk,  the  Man  of  Law, 
the  Franklin,  the  Doctor,  the  Wife 
of  Bath,  the  Parson,  the  Miller,  the 
Reeve,  the  Summoner,  the  Pardon- 
er. (Or  the  characters  may  be 
treated  in  groups  of  related  per- 
sons; e.  g.,  the  members  of  relig- 
ious orders,  the  bourgeois  char- 
acters, etc.) 

10.  Satire  of  religious  abuses  i 
the  Prologue. 


SELECTIONS  EOE  READING  ALOUD 


47 


11.  Character  sketches  of  The- 
seus; of  Chauntecleer. 

12.  The  story  of  Palamon  and 
Arcite  (a  narrative  outline,  merely). 

13.  The  Knight’s  Tale  and  its 
source  (pp.  253-54). 

14.  The  Knight’s  Tale  and  Dry- 
den’s  retelling  of  it.  (He  retold 
the  Nun’s  Priest’s  Tale  also.) 

15.  Descriptions  of  striking 
scenes  or  places;  such  as  the  fol- 
lowing: 

Emelye  in  the  garden  (pp. 
104  ff.). 

The  Temple  of  Venus  (pp. 
136  ff.). 

The  Temple  of  Mars  (pp.  138 

ff.). 

The  Temple  of  Diana  (pp. 
141  ff.). 

SELECTIONS  FROM  CHAUCER— S 

1.  — The  Knight  and  the  Squire 
(pp.  66-69). 

2.  — The  Prioress  (pp.  69-71). 

3.  — The  Monk  and  the  Friar  (pp. 
71-75). 

4.  — The  Sergeant  of  Law  (p.  77). 

5. — The  Wife  of  Bath  (pp.  82-83). 

6.  — The  Parson  (pp.  83-85). 

7.  — The  Host  and  his  suggestion 
(pp.  93-95). 

8.  — Emelye  in  the  garden  (pp. 
104-7). 

9.  — Arcite  returns  to  Athens  (pp. 
116-19). 

10.  — The  observance  of  May  (pp. 
120-21). 

11.  — The  decree  of  Theseus  (pp. 
130-34). 

12.  — The  Temple  of  Venus  (pp. 
136-38). 

13.  — The  Temple  of  Mars  (pp. 
138-41). 

14.  — Two  of  the  champions  (pp. 


A May  morning  (pp.  120  ff.). 
The  combat  between-  Pala- 
mon and  Arcite  and  their 
champions  (pp.  161  ff.). 
Ugolino  in  the  dungeon  (cf. 
pp.  267-68). 

The  “povre  widwe’s”  pre- 
mises (pp.  188  ff.). 

16.  The  story  of  the  cock  and 
the  fox. 

17.  The  Nun’s  Priest’s  Tale  and 
“Uncle  Remus.’’ 

18.  The  Pardoner’s  story  of  the 
three  “ryotoures”  (pp.  219  ff.). 

19.  Paraphrases  of  any  of  the 
shorter  poems,  especially  pp.  236-37. 

20.  Write  the  Knight’s  impres- 
sion of  London  today  after  a sup- 
posed visit,  making  use  of  Chau- 
cerian English. 

.ECTIONS  FOR  CLASS  READING. 
144-46). 

15.  — Emelye  at  the  Temple  of 
Diana  (pp.  149-53). 

16.  — The  combat  (pp.  160-63). 

17.  — The  death  of  Arcite  (pp. 
166-68). 

18.  — “De  Hugelino,  Comite  de 
Pize’’  (pp.  183-85). 

19.  — Chauntecleer  and  his  house- 
hold (pp.  189-90). 

20.  — Chauntecleer’s  dream  (pp. 
190-91). 

21.  — Chauntecleer  in  joy  (pp.  200- 

201). 

22.  — The  fox  beguiles  Chaunte- 
cleer (pp.  202,  204-6). 

23.  — The  tables  are  turned  (pp. 
207-9). 

24.  — The  Pardoner’s  Tale  (pp. 
219-27). 

25. — ‘Truth’’  (pp.  232-33). 

26.  — “Chaucer  to  his  Purse’’  (pp. 
236-37). 


ESSAYS  AND  ADDRESSES  BY 

1.  Sketch  of  Emerson’s  life  (pp. 
9-20)’. 

2.  Emerson  and  Ernest  in  Haw- 


EMERSON— THEME  SUBJECTS, 
thorne’s  “Great  Stone  Face’’ — a 
comparative  character  sketch. 
(See  p.  9 and  deduce  characteris- 


48 


THEME  SUBJECTS  AND 


tics  from  “Essays”  read;  e.  g., 
“Friendship.”) 

3.  An  imaginary  conversation 
between  Emerson  and  Carlyle  (e. 
g.,  about  Shakspere  or  Burns,  or 
about  the  subject  of  some  one  of 
the  “Essays”  in  this  volume). 

4.  Comparison  and  contrast  of 
Emerson’s  method  of  composition 
(p.  17)  with  that  of  Stevenson  or 
Poe. 

5.  Emerson  and  the  abolitionist 
movement  (pp.  18-19,  44,  etc.). 

6.  Your  favorite  of  the  “Essays” 
in  this  volume,  with  reasons. 

7.  Present-day  Christmas  giv- 
ing, as  Emerson  might  view  it  (pp. 
52-57),  or  as  you  would  modify  his 
views.  ' 

8.  Discussion  and  explanation  of 
Emerson’s  famous  view  of  consist- 
ency (pp.  68  f£.). 

9.  Application  to  the  present 
time  of  Emerson’s  criticisms  on  pp. 


87-88,  or  a defense  of  the  present 
time  against  such  criticisms. 

10.  Emerson  on  Woman’s  Rights 
(pp.  120  ff.) — 'vjmparison  with 
Tennyson’s  view  or  what  Emerson 
would  think  of  the  present-day 
agitation  for  “woman’s  suffrage.” 

11.  Apply  Emerson’s  views  of 
heroism  (pp.  14?  ff.)  in  a character 
sketch  or  appreciation  of  some  real 
hero — either  a historic  character  or 
some  person  yru  know. 

12.  Defense  cr  criticism  of  Emer- 
son’s view  of  political  parties  (pp. 
194-95),  or  application  ^ of  his  view 
to  the  present  time. 

13.  Description  of  a scene  sug- 
r^ested  by  pp.  205-8. 

14.  “The  greatest  genius  is  the 
most  indebted  man”  (p.  228).  Ap- 
ply this  to  Shakspere,  with  illus- 
trations from  the  plays  you  have 
read. 

15.  Emerson’s  view  of  books 
(pp.  258-63). 


ESSAYS  AND  ADDRESSES  BY  EMERSON— SELECTIONS  FOR  CLASS 

READING. 


1.  — The  dualism  of  nature  (pp. 
26-30). 

2.  — Compensation  in  social  and 
industrial  relations  (pp.  37-41). 

3.  — Compensations  for  persecution 
and  calamity  (pp.  42-44,  47-49). 

4.  — The  virtue  of  non-conformity 
(pp.  62-67) 

5.  — Consistency  (pp.  68-71). 

6.  — Travelling  and  imitation  (pp. 
86-89). 

7.  — What  is  a gentleman  (pp.  97- 
101)? 

8.  — True  good  manners  (pp.  106- 
7,  110-12). 

9.  — Woman’s  rights  (pp.  120-22) 

10.  — The  effects  of  human  affec- 
tion (pp.  126-29). 

11.  — The  elements  of  real  friend- 
ship (pp.  134-38). 


12.  — True  heroism  (pp.  152-54, 
160-63). 

13.  — Character  and  its  measure 
(pp.  169-72). 

14.  — The  nature  of  the  State  (pp. 
186-88). 

15.  — “Halcyon  days”  (pp.  205-8). 

16.  — Great  men  (pp.  228-29). 

17.  — The  real  biography  of  Shak- 
spere (pp.  241-44). 

18.  — The  scholar  and  nature  (pp. 
256-57). 

19.  — The  scholar  and  books  (pp. 
258-63). 

20.  — The  scholar  and  action  (pp. 
266-68). 

21.  — “The  office  of  the  scholar” 
(pp.  268-72). 


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VI  How  to  Increue  a Vo- 
cabulary 

VII ) Punctuation  and  Letter 
Vlll ) Writinff 


Second 

MAKING  THE 
COMPOSITION  CORRECT 


CHAPTKR 

IX  Good  Use 

X Barbarisms 
XI  Improprieties 

XII  Grammar  — Qaod  Use  in 

the  Sentence 

XIII  Idlam  and  Translation 

English 

XIV  Namber  of  Words 

XV  Discriminatioo  in  Choice 
of  Words 


THI  RD 

MAKING  THE 
COMPOSITION  EFFECTIVE 

CHAPTER 

XVI  A Survey  of  the  Chief 
Rhetorical  Principles 
XVII  Unity  in  Sentences 
XVIll  Coherence  in  Senten- 
ces 

XIX  Force  In  Sentences 
XX  Structure  of  Single 
Paragraphs 

XXI  Structure  of  Whole 
Composition 


Fourth 

KINDS  OF 
COMPOSITION 

CHAPTER 

XXII  Summaries 

XXIII  Original  Composition, 

Descriptive  and  Nar- 
rative Writing 

XXIV  Original  Composition, 

Expository  and  Ar- 
gumentative Writing  , 
APPENDIX 

A Figures  of  Speech 
B Classified  List  of  Subjects  ' 
C Conunon  Abbreviations 


advantages  of  this  PLAN  are  that  it  is  direct  and 
^ logical,  that  it  makes  a course  in  English  unified  and 
productive  of  results,  and  that  it  embodies  the  modern 
idea  of  developing  the  writing.  A well  defined  Plan  is  as 
important  in  a text-book  as  in  any  other  undertaking. 


SCOTT,  FORESMAN  and  COMPANY 


378  Wabash  Avenue 


CHICAGO 


